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Author: 


Trezise,  Frederick  James 


Title: 


The  typography  of 
advertisements 

Place: 

Chicago 

Date: 

1921 


MASTER    NEGATIVE   # 


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ORIGINAL  MATERIAL  AS  FILMED  -    EXISTING  BIBLIOGRAPHIC  RECORD 


T72 


Trezise,  Frederick  James,  1875- 

The  typography  of  advertisements,  by  F.  J.  Trezise 
Chicago,  The  Inland  printer  company,  1921. 

4  p.  l,  11-134  p.    illus.    19^"". 


1.  Printing,  Practical.    2^  Advertising.        i.  Title. 


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The  Typography  of 
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THE  TYPOGRAPHY 
<?/ ADVERTISEMENTS 


By 
F.  J.  TREZISE 

Formerly  Editor  Job  Composition  and  Specimen  Re'vieiv 
Departments  of  The  Inland  Printer 


CHICAGO 
THE  INLAND  PRINTER  COMPANY 

PUBLISHERS 
1921 


?- 


(K 


The  Inland  Printer  Company 
Copyright  1911 
Copyright  1921 


2.53. a 


- 


PREFACE 

TTT'HILE  the  growth  of  advertising  has  been  exceed- 
▼  ^  ingly  rapid,  accompanied  by  a  proportionate  increase 
of  expenditure,  and  while  vast  sums  have  been  spent  in 
securing  the  best  in  advertising  copy,  the  question  of  the 
presentation  of  this  copy  —  the  typography  of  the  adver- 
tisement —  has  been  to  a  great  extent  neglected. 

Those  who  have  made  a  study  of  the  psychology  of 
advertising  have  emphasized  the  importance  of  the  eflfect 
of  the  design  of  the  advertisement  upon  the  mind.  It  is 
from  the  design,  rather  than  the  wording,  that  the  first 
impressions  are  gained. 

The  composition  of  advertisements,  hke  all  other  type 
arrangement,  is  based  upon  certain  fundamental  principles 
of  design,  the  carrying  out  of  which  is  necessary  to  the 
most  pleasing  advertising  typography.  To  select  the  most 
readable  and  satisfactory  type-faces,  and  to  arrange  them 
in  such  manner  that  the  eye  is  involuntarily  led,  by  reason 
of  the  design  as  well  as  the  wording,  through  the  adver- 
tisement, is  the  end  to  be  desired  in  the  composition  of 
advertisements,  and  it  is  to  indicate  the  application  of  the 
principles  governing  these  points  of  design  that  this  work 

is  undertaken.  t-   t  -t- 

F.  J.  T. 


/ 


CONTENTS 

CHAPTER  I.  Importance  of  Good  Advertising  Display  .  11 
CHAPTER  n.     Laying  Out  the  Advertisement  .         .         17 

CHAPTER  HI.  The  Question  of  Display  ...  33 
CHAPTER  IV.     On  Choosing  Type  ....        49 

CHAPTER  V.  On  the  Use  of  Borders  .  .  .  .  63 
CHAPTER  VI.  The  Department  Store  Advertisement  .  79 
CHAPTER  VII.  Hand-Lettered  Advertisements  .  .  90 
CHAPTER  VIII.  "Agency  Advertisements"  .  .  .100 
CHAPTER  IX.  Illustrations  in  Advertisements  .  .  110 
CHAPTER  X.     How  to  Set  the  Advertisement  .         .         ,123 


u 


1 1 


THE  TYPOGRAPHY  OF 
ADVERTISEMENTS 


CHAPTER  I. 

^ROM  the  time,  some  three  thousand 
years  ago,  when  the  Egyptians 
used  hand-bills  and  posters  made  of 
papyrus  to  give  descriptions  of  run- 
away slaves  and  advertise  rewards 
for  their  return,  through  the  peri- 
ods of  the  illiteracy  of  the  masses 
when  signs  were  used  to  indicate 
the  goods  for  sale,  past  the  periods  of  the  crier  adver- 
tising orally,  and  down  to  the  present  time,  advertising 
has  ever  been  a  prominent  feature  in  the  business 
world. 

Advertising  became  associated  with  printing  soon 
after  the  invention  of  the  latter,  and  the  imprint  or 
printer's  mark  early  became  a  feature  of  his  work. 
These  devices  were  but  trade-marks,  used  as  means  of 
identification.  That  they  were  considered  valuable  is 
shown  in  the  fact  that  they  were  subjected,  as  they  are 
even  at  the  present  time,  to  imitation  and  theft. 

[II] 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

A  large  question  —  and  an  elusive  one  —  this  ques- 
tion of  the  typography  of  advertisements. 

One  billion  dollars  is  spent  each  year  in  the  United 
States  for  advertising  purposes. 

The  annual  appropriation  of  single  firms  is  enor- 
mous, several  of  them  spending  between  $500,000  and 
$1,000,000  yearly. 

Ten  dollars  an  agate  line,  or  nearly  $150  an  inch, 
is  paid  for  space,  and  even  that  is  not  the  maximum. 

A  "  double-page  spread  "  at  $7,500  is  a  common 
occurrence. 

A  page  advertisement  at  $5,000  is  an  ordinary  thing 
and  excites  no  comment  whatever. 

One  is  inclined,  in  view  of  these  figures,  to  question 
whether  or  not  such  advertising  pays. 

This,  of  course,  depends  upon  what  percentage  of 
the  total  sales  goes  into  the  advertising  appropriation. 

One  New  York  department  store  is  said  to  spend 
$500,000  a  year  in  advertising  —  on  a  three  per  cent 
basis.  The  average  is  perhaps  two  per  cent.  The 
average  for  salesmen,  however,  is  from  five  to  ten  per 
cent. 

A  Chicago  department  store  recently  ran  a  twenty- 
page  advertisement  in  the  Sunday  editions  of  two  Chi- 
cago newspapers.  The  cost  for  the  single  insertion  in 
the  two  papers  was  approximately  $25,000. 

The  effects  of  this  advertising  hardly  can  be  esti- 
mated. Things  which  in  the  ordinary  course  of  affairs 
one  hardly  ever  hears  of,  become,  after  the  insistent 
bombardment  of  facts  from  the  advertising  pages  of 

[12] 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 

dozens  of  magazines,  necessities.  Advertising  has, 
time  and  again,  changed  our  habits  as  a  people.  It 
has,  in  thousands  of  homes,  substituted  for  the  old-time 
breakfast  of  coffee,  meat  and  potatoes,  one  of  cereal 
drink  and  breakfast  foods.  It  has,  to  a  large  extent, 
put  the  barber  out  of  business  by  the  enormous  demand 
for  safety  razors  which  it  has  created. 

Advertising,  as  we  know  it  to-day,  is  a  necessity 
due  to  modern  conditions.  In  the  old  days  of  hand- 
work, before  the  introduction  of  the  labor-saving 
machinery  and  devices  which  characterize  our  factories 
of  the  present  time,  the  problem  was  not  how  to  sell 
goods  but  how  to  make  them  fast  enough  to  supply 
the  demand.  The  man  who  made  furniture  by  hand 
was  concerned  in  filling  his  orders  —  in  making,  by  his 
tedious  processes,  enough  to  supply  the  demand.  With 
the  introduction  of  improved  machinery  and  labor- 
saving  devices  the  problem  was  reversed.  It  became  a 
question  of  creating  the  demand.    And  this  advertising 

does. 

Emerson  wrote, ''  If  a  man  can  write  a  better  book, 
preach  a  better  sermon,  or  make  a  better  mouse-trap 
than  his  neighbor,  though  he  build  his  house  in  the 
woods,  the  world  will  make  a  beaten  track  to  his  door." 

But  that  doesn't  apply  to  the  present  time.  It 
applied  to  the  days  of  slow  processes  of  manufacture. 
The  man  of  the  present  day  who  can  make  better 
mouse-traps  than  the  other  fellow,  can  make  them  in 
such  quantities  —  and  must  make  them  in  such  quan- 
tities in  order  to  meet  competition  —  that  the  tedious 

[13] 


'  1' 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

business  of  waiting  for  the  world  to  make  a  beaten 
path  to  his  door  wouldn't  do  at  all.  He  must  go  to  the 
world  —  and  that  by  advertising. 

And  advertising  to  get  his  goods  before  the  public 
is  not  sufficient  —  he  must  advertise  in  order  to  keep 
them  there.  The  man  who  controls  the  market  in  his 
line  —  who  has  practically  all  of  the  trade  —  must  keep 
up  a  campaign  of  advertising  as  an  insurance  against 
losing  his  business.  As  an  example,  it  is  said  that  the 
National  Biscuit  Company  instituted  a  certain  news- 
paper advertising  campaign  which  involved  the  expen- 
diture of  $175,000.  Of  this  amount  $60,000  was  spent 
in  New  York  city,  where  the  company  already  had 
over  ninety-eight  per  cent  of  the  business  in  its  line 
The  money  was  not  spent  in  the  expectation  of  increas- 
ing business  —  it  was  spent  as  insurance  against  the 
possible  inroads  of  competition. 

And  now  we  come  to  the  part  the  printer  plays  in 
all  this  publicity.  Upon  him  falls  the  problem  of  pre- 
senting these  things  to  the  public  in  a  manner  that  will 
attract  attention.  And  even  that  is  not  sufficient  —  it 
must  be  favorable  attention. 

Many  printing-houses  fail  to  give  sufficient  atten- 
tion to  the  typography  of  their  advertisements.  The 
copy  may  be  most  carefully  gotten  up  by  a  specialist  — 
and  some  of  these  specialists  are  paid  as  high  as  $1,000 
a  week  for  their  services  —  but  when  it  comes  to  pre- 
senting this  costly  message  to  the  public  it  is  done  in 
a  haphazard  manner. 

In  justification  of  this  condition,  some  one  comes 

[14] 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 

along  and  says,  "  Oh,  well,  it  doesn't  pay  to  put  too 
much  time  on  the  composition  of  advertisments." 

Doesn't  it? 

John  Jones  is  going  to  run  the  same  advertisement 

in  six  different  magazines. 

He  pays  $6  an  agate  line  in  each  of  them. 

In  ordinary  display  and  average  size  type  he  may 
average  three  words  of  copy  to  one  agate  line  of  space. 

That  means  that  for  each  word  of  that  advertise- 
ment Jones  will  pay  $12. 

At  that  rate,  can  Jones  afford  to  have  anything  but 
the  best  of  typography  ? 

Just  pause  for  a  moment,  Mr.  Ad.-compositor,  and 
let  the  question  of  the  cost  of  advertising  get  thor- 
oughly into  your  system.  Put  yourself,  for  just  a  few 
moments,  in  the  shoes  of  the  man  who  pays  for  the 
advertisements,  and  if  looking  at  things  from  his  view- 
point does  not  bring  to  you  a  realization  of  what  good, 
careful  typography  means  to  him,  then,  indeed,  ad.- 
composition  is  not  your  line. 

One  can  not  get  away  from  the  fact  that  the  com- 
positor plays  no  unimportant  part  in  the  effect  of  the 
advertisement  on  the  reader.  The  psychologists  who 
have  turned  their  attention  to  advertising  lay  great 
stress  upon  the  effect  of  the  design  upon  the  mind. 
True,  they  do  not  minimize  the  importance  of  the 
words,  but  the  first  impression  —  the  basis  from  which 
they  must  start  in  their  psychological  deductions  —  is 
the  design. 

Advertising  is  not,  as  yet,  an  exact  science.    Get  a 

[15] 


II 


<tMHn 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 


group  of  ad.-writers  or  ad. -compositors  together  in  the 
discussion  of  certain  advertisements  and  you  will  find 
as  many  opinions  as  there  are  persons  present.  Like 
job-printing,  the  composition  of  advertisements  has 
been  in  a  more  or  less  chaotic  state,  but  happily  we  are 
now  getting  it  on  a  sound  basis  of  principles.  And  it 
is  with  these  principles  and  their  application  to  the 
typography  of  advertisements  that  these  chapters  will 
deal.  As  before  stated,  the  compositor  is  a  prominent 
factor  in  the  completed  advertisement,  and  his  treat- 
ment of  it  does  much  to  enhance  or  detract  from  its 
effect  on  the  prospective  buyer.  If  he  can  get  —  and 
this  is  possible  —  certain  acknowledged  fundamental 
principles  of  design  to  apply  to  his  work,  it  will  give 
him  a  solid  foundation  upon  which  to  build. 


CHAPTER  IL. 

The  minute  a  compositor  begins  work  on  an  advertisement,  that  min- 
ute he  becomes  a  salesman,  and  his  major  thought  should  be  to  set  an 
advertisement  that  will  sell  the  goods.  Fads,  fashions  and  mechanical 
cleverness  must  be  secondary  to  the  selling  factor  in  his  presentation  of 
the  subject. 

T  is  not  without  certain  misgivings 
that  I  undertake  this  discussion  of 
the  typography  of  advertisements. 
Varying  conditions  in  printing- 
offices  and  in  the  mediums  in  which 
advertisements  are  used  make  it 
hard  to  arrive  at  a  place  where  we 
can  all  stand  on  a  common  ground 
in  this  matter.  The  comparative  newness  of  advertis- 
ing as  a  profession  is  also  a  drawback.  The  ad.-writers 
themselves  do  not  stand  on  a  common  ground.  The 
discussion  of  the  relative  merits  of  a  piece  of  ad.-copy 
will  call  forth  just  as  great  a  diversity  of  opinion 
among  ad.-writers  as  will  the  discussion  of  its  arrange- 
ment in  type  bring  out  differences  of  opinion  among 
printers. 

Of  one  thing  we  are  certain,  however.  The  trend 
of  the  times  is  toward  a  definite  understanding,  both 
in  ad.-writing  and  in  ad.-composition.  The  writing  of 
advertisements  is  gradually  being  placed  on  a  more 


[i6] 


[17] 


, 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 


I; 


definite  basis  with  regard  to  what  is  good  and  what  is 
bad.  Likewise  the  compositor  is  devoting  more  and 
more  attention  to  the  fundamentals  of  his  craft.  The 
ultimate  result  can  not  be  other  than  beneficial  to  both. 

Another  thing  that  has  militated  against  a  more 
speedy  improvement  of  the  typography  of  advertise- 
ments has  been  the  attitude  of  the  printer  toward  the 
ad.-writer,  and  vice  versa. 

I  fully  realize  that  this  is  treading  on  dangerous 
ground  —  that,  like  the  proverbial  peacemaker,  one  is 
more  than  liable  to  '*  get  it  "  both  going  and  coming. 

Do  you  doubt  that  the  attitude  of  the  ad.-writer  is 
frequently  a  detriment  in  the  production  of  good 
typography?  Then  read  the  following,  taken  from  a 
text-book  for  ad.-writers : 

*'  The  average  compositor,  particularly  the  *  old- 
timer,'  prides  himself  on  his  ability  to  crowd  into  a 
given  space  all  the  type-styles  it  will  hold.  Samples 
of  these  typographical  nightmares  are  to  be  found  in 
nearly  all  publications.  Regarding  this  too  prevalent 
fault,  a  writer  facetiously  remarks :  *  If  your  printer 
insists  on  setting  your  advertisements  in  fourteen  dif- 
ferent styles,  sizes  and  faces  of  type,  he  should  pay 
half  the  cost  of  the  advertisement  for  the  privilege  of 
showing  his  stock.'  Obviously,  then,  it  behooves  the 
ad.-man  to  master  the  rules  of  type  arrangement  and 
type  harmony.  A  fair  knowledge  of  these,  and  of  the 
general  technicalities  given  elsewhere  in  this  book,  will 
enable  him  to  plan  a  *  set  up '  in  an  intelligent  manner, 
and  to  give  specific  instructions  to  the  compositor." 

[i8] 


THE   TYPOGRAPHY   OF  ADVERTISEMENTS 


Rather  a  "  soft "  way  in  which  to  learn  a  trade.  A 
fair  knowledge  of  "  these  "  and  of  the  general  techni- 
calities given  elsewhere  in  "  this  book,"  and  behold  you 
can  show  the  compositor  more  than  he  has  learned  in  a 

lifetime. 

On  the  other  hand,  what  does  the  compositor  say 
of  the  average  ad.-writer?  Did  you  ever  hear  the 
comments  of  a  compositor  while  trying  to  crowd  into 
an  advertisement,  in  eight-point  type,  the  matter  which 
the  ad.-writer  had  specified  to  go  in  twelve-point?  No? 
Then  you  have  missed  some  choice  bits  of  oratory. 
Expurgated,  they  run  something  like  this :  "  Well, 
what  do  you  know  about  that  ad.-school  graduate  who 
got  up  this  copy?  Why,  say,  that  fellow  wouldn't 
know  twelve-point  Caslon  from  a  shooting-stick  or  a 
paper-stretcher,  and  he  tried  to  tell  me  —  me  —  how 
to  set  ads.  I'll  show  him  where  he  gets  off  "  —  and  so 
on,  and  so  on,  until  the  advertisement  is  up  or  the  com- 
positor's mind  is  distracted  by  fresh  troubles. 

And  if  you  have  ever  witnessed  the  unholy  glee 
with  which  the  compositor  follows  copy  and  instruc- 
tions on  an  advertisement  which  has  been  poorly  laid 
out,  chuckling  over  the  expected  outcome,  and  his 
endeavor  to  "  show  up  "  the  ad.-writer,  carefully  avoid- 
ing doing  anything  which  would  tend  toward  an 
improvement,  you  can  not  have  failed  to  see  an  attitude 
detrimental  to  the  best  results. 

This  spirit  of  mutual  distrust  manifests  itself  in" 
much  of  our  ad.-work,  and  until  the  writer  and  printer 
get  together  on  a  basis  of  mutual  understanding,  our 

2  [19] 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

advertising  pages  will  not  reach  their  greatest  possible 

effectiveness. 

As  stated  above,  the  compositor  is  getting  down  to 
a  solid  basis  in  his  work  — he  is  concerning  himself 
more  and  more  with  the  questions  of  cause  and  effect. 
No  longer  content  to  "  go  it  blindly,"  he  insists  upon 
reasons  for  every  move.  He  wants  to  know  "  why," 
and  these  comments  on  the  typography  of  advertise- 
ments are  made  with  that  fact  in  mind.  The  field  can 
not  be  fully  covered  —  and  no  attempt  will  be  made  to 
do  so  — but  suth  points  as  have  come  under  the  obser- 
vation of  the  writer  will  be  offered  in  the  hope  that 
they  may  help  to  clarify  the  question  of  ad.-compo- 
sition. 

CHOOSING  THE   DISPLAY. 

The  first  thing  which  the  compositor  must  do  is  to 
choose  the  parts  of  the  copy  which  he  will  display.  In 
this  he  is,  of  course,  frequently  assisted  by  the  ad.- 
writer,  who  designates  his  preferences  on  the  copy. 

The  copy  has  much  to  do  with  the  general  effect. 
Too  many  display  features  make  a  good  advertisement 
impossible  in  spite  of  the  best  efforts  of  the  designer. 
Some  ad.-writers  realize  this,  and  in  consequence  they 
get  good  advertisements  without  any  difficulty  what- 
ever, while  others  are  at  constant  war  .with  the  com- 
posing-room. 

Most  advertisements  contain  too  much  display. 
Display,  like  all  other  good  things,  can  be  overplayed, 
and  no  matter  how  good  a  thing  may  be,  too  much  of 

[20] 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

it  is  not  desirable.  This  is  illustrated  in  Fig.  i.  Here 
we  have  an  advertisement  set  in  a  manner  calculated 
to  bring  out  all  of  the  various  features.  The  composi- 
tor evidently  has  endeavored  to  overlook  no  point 
which  should  be  displayed.  But  in  his  desire  to  bring 
out  everything  he  has  succeeded  in  bringing  out  noth- 
ing. He  has  forgotten  that  where  everything  is 
emphasized  there  is  no  emphasis.  As  you  look  at  the 
advertisement  your  eye  is  attracted  first  by  one  group 
or  spot  and  then  by  another,  in  such  rapid  succession 
that  it  all  becomes  a  jumbled  mass.  In  Fig.  2,  how- 
ever, it  is  different.  You  turn  to  this  advertisement 
with  a  feeling  of  relief,  you  take  it  in  at  a  glance.  The 
heading  and  the  signature  tell  the  vital  points  of  the 
story,  and  they  are  pleasingly  brought  out  in  contrast 
with  the  gray  tone  of  the  background  furnished  by  the 
descriptive  matter.  The  heading  has  been  left  in  the 
same  type  as  in  Fig.  i,  but  the  subordination  of  the 
balance  of  the  text  causes  it  to  stand  out,  by  reason 
of  the  contrast  in  sizes,  much  more  prominently.  This 
question  of  contrasts  should  not  be  overlooked  by  the 
compositor,  for  contrast  is  the  most  potent  factor  in 
typographical  display.  The  ten-story  building  is  a 
marvel  in  a  town  of  two  and  three  story  structures, 
but  in  the  loop  district  of  Chicago  or  on  the  lower  end 
of  Manhattan  Island,  surrounded  by  buildings  twice 
its  height,  the  ten-story  building  is  not  noticed.  The 
building  is  just  the  same  —  it  is  simply  a  question  of 
contrasts.  Just  so  with  type.  The  line  of  twenty-four- 
point  capitals  stands  out  prominently  and  is  relatively 

(21] 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

large,  when  surrounded  by  ten  and  twelve  point  type, 
but  place  it  among  a  number  of  other  lines  of  twenty- 
four-point  and  it  loses  its  effect.     And  it  is  largely 


MEYER  ALL-WOOL 
SUMMER  CLOTHES 

Are  worn  by  the 

BEST  DRESSERS  IN 
CHICAGO 

They  are  popular  in  all  of  the  great  fashion 
centers  in  America.  They  are  offered  to  the 
men  of  this  country  at 

Prices  as  Low  or  Lower 

than  they  are  asked  to  pay  in  most  stores  for 
commonplace  and  inferior  goods.  You  will  see 
the  force  of  our  arguments  as  soon  as  you  try 
these  clothes  on.  The 

GOOD  WORKMANSHIP  AND 
CHOICE  PATTERNS 

must  surely  appeal  to  you.  You  will  know 
what  we  mean  by  "clothes  that  fit  and  keep 
their  shape." 

R.  R.  MEYER  &  COMPANY 

127  State  Street,  Chicago 


1 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 


than  in  the  original.  Of  course,  the  rules  on  either 
side  tend  to  set  it  apart  from  the  other  matter,  but  the 
absence  of  the  confusion  which  is  noted  in  the  original 


Pig,  I. —  Where  everything  is  emphasized 
there  is  no  emphasis.  This  advertisement  con- 
tains too  much  display.  , 

because  of  this  contrast  that  the  words  "  are  worn  by 
the  best  dressers  in  Chicago  "  are  much  easier  to  read 
in  Fig.  2,  although  set  in  a  size  of  type  much  smaller 

[22l 


MEYER  ALL-WOOL 
SUMMER  CLOTHES 

Are  worn  by  the  best  dressers  in  Chicago 

They  are  popular  in  all  of  the  great 
fashion  centers  in  America.  They  are 
offered  to  the  men  of  this  country  at 
prices  as  low  or  lower  than  they  are 
asked  to  pay  in  most  stores  for  com- 
monplace and  inferior  goods.  You 
will  see  the  force  of  our  arguments  as 
soon  as  you  try  these  clothes  on.  The 
good  workmanship  and  choice  pat- 
terns must  surely  appeal  to  you.  You 
will  know  what  we  mean  by  "clothes 
that  fit  and  keep  their  shape." 

R.  R.  MEYER  &  COMPANY 

127  State  Street,  Chicago 


Fig.  2. —  A  resetting  of  the  advertisement 
shown  in  Fig.  i.  Much  easier  to  read,  more 
pleasing  to  the  eye,  and  with  the  important  fea- 
tures brought  out.  , 

and  which  is  due  to  the  conflicting  of  the  two  groups  in 
the  large  size  of  type  is  mainly  responsible  for  its 
legibility.     In  the  one  advertisement  we   realize  the 

[23] 


INTENTIONAL     SECOND  EXF^OSURE 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

large,  when  surrounded  by  ten  and  twelve  point  type, 
but  place  it  among  a  number  of  other  lines  of  twenty- 
four-point  and  it  loses  its  effect.     And  it  is  largely 


MEYER  ALL-WOOL 
SUMMER  CLOTHES 

Are  worn  by  the 

BEST  DRESSERS  IN 
CHICAGO 

They  are  popular  in  all  of  the  great  fashion 
centers  In  America.  They  are  offered  to  the 
men  of  this  country  at 

Prices  as  Low  or  Lower 

than  they  are  asked  to  pay  in  most  stores  for 
commonplace  and  inferior  goods.  You  will  see 
the  force  of  our  arguments  as  soon  as  you  try 
these  clothes  on.  The 

GOOD  WORKMANSHIP  AND 
CHOICE  PATTERNS 

must  surely  appeal  to  you.  You  will  know 
what  we  mean  by  "clothes  that  fit  and  keep 
their  shape." 

R.  R.  MEYER  &  COMPANY 

127  State  Street,  Chicago 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 


than  in  the  original.  Of  course,  the  rules  on  either 
side  tend  to  set  it  apart  from  the  other  matter,  but  the 
absence  of  the  confusion  which  is  noted  in  the  original 


Fig.  I. —  Where  everything  is  emphasized 
there  is  no  emphasis.  This  advertisement  con- 
tains too  much  display.  , 

because  of  this  contrast  that  the  words  "  are  worn  by 
the  best  dressers  in  Chicago  "  are  much  easier  to  read 
in  Fig.  2,  although  set  in  a  size  of  type  much  smaller 

[22] 


MEYER  ALL-WOOL 
SUMMER  CLOTHES 

Are  worn  by  the  best  dressers  in  Chicago 

They  are  popular  in  all  of  the  great 
fashion  centers  in  America.  They  are 
offered  to  the  men  of  this  country  at 
prices  as  low  or  lower  than  they  are 
asked  to  pay  in  most  stores  for  com- 
monplace and  inferior  goods.  You 
will  see  the  force  of  our  arguments  as 
soon  as  you  try  these  clothes  on.  The 
good  workmanship  and  choice  pat- 
terns must  surely  appeal  to  you.  You 
will  know  what  we  mean  by  "clothes 
that  fit  and  keep  their  shape." 

R.  R.  MEYER  &  COMPANY 

127  State  Street,  Chicago 


Fig.  2. —  A  resetting  of  the  advertisement 
shown  in  Fig.  i.  Much  easier  to  read,  more 
pleasing  to  the  eye,  and  with  the  important  fea- 
tures brought  out.  , 

and  which  is  due  to  the  conflicting  of  the  two  groups  in 
the  large  size  of  type  is  mainly  responsible  for  its 
legibility.     In  the  one  advertisement  we   realize  the 

[23] 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

same  sensations  that  we  would  if  a  half-dozen  fellows 
surrounded  us  and  shouted  in  our  ears,  each  telling  a 
different  story,  while  the  other  one  produces  an  effect 


DO  YOU  KNOW 

that 

Queen  Chocolates 

Are  the  Best  to  Be  Had  at  Any  Price? 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

shall  speak  at  a  time  —  and  common  sense  decrees  that 
to  bring  out  one  point  at  a  time  is  good  advertising. 
It  has  been  said  that  a  man  can  do  better  service 


Nothing  but  jhc  best  of  ingredients 
arc  used  in  the  manufacture  of  the 
widely  celebrated  ^ueen  Chonlatet. 
They  are  made  under  the  conditions 
which  guarantee  absolute  cleanliness 
and  this,  in  connection  with  their 
purity,  makes  them  the  most  desirable 
of  confections.  There  is  no  more 
appropriate  gift  than  a  box  of  ^ueen 
Chtctlatet.  They  are  packed  in  boxes 
of  different  sizes.  The  pound  boxes 
are  60  cents. 


Do  You  Know  that 

Queen  Chocolates 

Are  the  Best  to  Be  Had  at  Any  Price? 


Nothing  but  the  best  of  ingredients 
are  used  in  the  manufacture  of  the 
widely  celebrated  ^ueen  Ch»ctlates. 
They  are  made  under  the  conditions 
which  guarantee  absolute  cleanliness 
and  this,  in  connection  with  their 
purity,  makes  them  the  most  desirable 
of  confections.  There  is  no  more 
appropriate  gift  than  a  box  of  ^ueen 
Ch§c9latet.  They  are  packed  in  boxes 
of  different  sizes.  The  pound  boxes 
are  60  cents. 


The  Chocolate  Company 

Chicago 


Fig  3._The  feature  line  of  an  advertise- 
ment should  have  a-  direct  bearing  on  the  sub- 
ject. The  heading  in  this  advertisement  would 
suggest  hard  coal  as  readily  as  chocolates. 

similar  to  that  which  would  result  from  a  person  quietly 
and  convincingly  stating  the  case  to  us. 

Common  politeness   decrees   that  but  one  person 

[24] 


I 


Fig.  4. —  A  resetting,  in  which  the  proper  line 
has  been  given  the  most  prominent  display. 

with  one  club  than  he  can  with  an  armful.  Likewise 
the  advertiser  can  get  better  results  by  emphasizing 
one  point  than  by  calling  attention  to  a  dozen. 

The  feature  line  of  an  advertisement  should  have 

[25] 


INTENTIONAL     SECOND  EXPOSURE 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

same  sensations  that  we  would  if  a  half-dozen  fellows 
surrounded  us  and  shouted  in  our  ears,  each  telling  a 
diflferent  story,  while  the  other  one  produces  an  effect 


DO  YOU  KNOW 

that 

Queen  Chocolates 

Are  the  Best  to  Be  Had  at  Any  Price? 


Nothing  but  %hc  best  of  ingredients 
arc  used  in  the  manufacture  of  the 
widely  celebrated  ^ueen  Chocolates. 
They  are  made  under  the  conditions 
which  guarantee  absolute  cleanliness 
and  this,  in  connection  with  their 
purity,  makes  t hem  the  most  desirable 
of  confections.  There  is  no  more 
appropriate  gift  than  a  box  of  ^ueen 
Chocolates.  They  are  packed  in  boxes 
of  different  sizes.  The  pound  boxes 
-  are  60  cents. 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 


shall  speak  at  a  time  —  and  common  sense  decrees  that 
to  bring  out  one  point  at  a  time  is  good  advertising. 
It  has  been  said  that  a  man  can  do  better  service 


L 


The  Chocolate  Company 

Chicago 


I 


I 


Do  You  Know  that 

Queen  Chocolates 

Are  the  Best  to  Be  Had  at  Any  Price? 


Nothing  but  the  best  of  ingredients 
are  used  in  the  manufacture  of  the 
widely  celebrated  ^ueen  Chocolates. 
They  are  made  under  the  conditions 
which  guarantee  absolute  cleanliness 
and  this,  in  connection  with  their 
purity,  makes  them  the  most  desirable 
of  confections.  There  is  no  more 
appropriate  gift  than  a  box  of  ^ueen 
Chocolates.  They  are  packed  in  boxes 
of  different  sizes.  The  pound  boxes 
are  60  cents. 


The  Chocolate  Company 

Chicago 


Pjc  3  _  The  feature  line  of  an  advertise- 
ment should  have  a-  direct  bearing  on  the  sub- 
ject. The  heading  in  this  advertisement  would 
suggest  hard  coal  as  readily  as  chocolates. 

similar  to  that  which  would  result  from  a  person  quietly 
and  convincingly  stating  the  case  to  us. 

Common  politeness  decrees  that  but  one  person 

[24] 


Fig.  4. —  A  resetting,  in  which  the  proper  line 
has  been  given  the  most  prominent  display. 

with  one  club  than  he  can  with  an  armful.  Likewise 
the  advertiser  can  get  better  results  by  emphasizing 
one  point  than  by  calling  attention  to  a  dozen. 

The  feature  line  of  an  advertisement  should  have 

[251 


I 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

a  direct  bearing  on  the  subject.  "  Do  you  want,"  "  Do 
you  know,"  *'  When  in  need,"  etc.,  prominently  dis- 
played at  the  head  of  an  advertisement  have  no  selling 
value  whatever.  And  yet  how  often  we  see  advertise- 
ments with  just  this  sort  of  display.  Fig.  3  is  an  exam- 
ple. In  this  advertisement  the  most  prominent  line  is 
one  which  would  suggest  hard  coal  just  as  easily  as 
chocolates.  In  the  resetting.  No.  4,  the  proper  line  has 
been  given  the  most  prominent  display  and  one  can  not 
even  glance  at  the  advertisement  without  receiving  an 
impression  of  "  Queen  Chocolates." 

DECIDING  ON   THE   ARRANGEMENT. 

Having  selected  the  portions  of  the  copy  which  we 
wish  to  display,  the  next  step  is  to  decide  upon  the 
general  arrangement  of  the  advertisement.  This  must 
be  done  at  this  time  for  two  reasons  —  first,  that  we 
may  have  a  definite  plan  from  which  to  work;  and 
second,  that  time  may  be  saved  in  the  setting  of  the 
advertisement. 

Speed  is  an  essential  feature  in  the  composition  of 
advertisements,  both  on  account  of  keeping  down  the 
cost  of  production  and  of  getting  out  publications  on 
time.  No  matter  how  much  the  compositor  may  desire 
to  embellish  the  advertisement,  he  must  consider  the 
time-ticket.  Some  classes  of  typography  may  allow 
unlimited  time  for  the  printer  —  but  not  so  the  com- 
position of  advertisements. 

How  is  one  to  best  conserve  the  interest  of  the  time- 
ticket  ? 

126] 


- 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

Mainly,  by  having  a  definite  plan  of  action. 

As  a  builder  goes  about  the  construction  of  a  house, 
so  should  the  compositor  go  about  the  construction  of 
an  advertisement.  He  should  know  at  the  beginning 
just  what  he  intends  the  results  to  be. 

We  are  all  familiar  with  the  printer  who,  when  he 
gets  an  advertisement  to  set,  grabs  a  stick,  sets  it  to 
the  proper  measure  and,  blindly  trusting  in  Providence, 
throws  the  thing  together,  only  to  find,  perhaps,  that 
he  lacks  space  for  the  last  four  or  five  lines  and  must 
reset  half  of  it  in  order  to  make  it  go  in  the  allotted 
space. 

That  man  works  without  a  definite  plan. 

The  other  man  —  the  man  who  accomplishes  results 
—  goes  about  it  in  a  different  manner.  He  first  pro- 
vides himself  with  a  plan. 

Unless  he  can  form  a  mental  picture  of  what  his 
advertisement  is  to  be  when  completed,  he  makes  a 
rough  sketch  of  it.  He  may  make  three  or  four 
sketches,  and  then  choose  the  most  pleasing.  This  is 
the  logical  way  in  which  to  achieve  the  most  satisfac- 
tory results.  The  making  of  one  or  more  sketches  is 
but  the  matter  of  a  few  minutes  —  which  time  is  made 
up  many  times  over  in  the  actual  composition. 

One  must  admit,  however,  that  the  ability  which 
comes  only  from  long  experience  is  an  important  factor 
in  ad.-composition.  To  deny  this  would  be  useless. 
Constant  practice  along  this  line  of  work  can  not  do 
other  than  train  the  mind  to  grasp  quickly  the  possi- 
bilities of  the  copy.    The  skilled  ad.-man  "  sizes  up  " 

[271 


-^  .«K'-  im  nyiww^fMUffi,  i1«j»ii" 


aiymffim^rjui^im^yimi 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

the  copy  for  an  advertisement  and  almost  immediately 
associates  it  with  a  certain  form  of  display.  There  are 
certain  possible  arrangements  for  each  piece  of  copy, 
and  to  decide  which  is  the  most  suitable  is  the  first 
thought. 

It  is  interesting  to  note,  in  connection  with  this 
question  of  deciding  upon  the  best  arrangement  for  an 
advertisement,  that  first  impressions  are  very  likely  to 
be  the  best.    I  have  talked  with  many  seasoned  printers 
on  this  point,  and  they  are  almost  unanimous  in  the 
opinion  that,  after  a  man  has  looked  over  the  copy,  the 
first  arrangement  which  suggests  itself  to  his  mind  is 
more  than  likely  to  be  the  best  that  he  could  adopt. 
Minor  changes  may  be  necessary,  but  the  essential  fea- 
tures will  remain  the  same.    Nor  is  this  at  all  surpris- 
ing.    Long  experience  stores  up  in  the  cells  of  one's 
mind  many  designs,  and  upon  viewing  a  piece  of  copy 
one  unconsciously  calls  up  a   design  to  correspond. 
Some  will  not  agree  with  this  opinion  -^  their  experi- 
ence will  have  been  that  a  sorting  over  and  considera- 
tion of  various  arrangements  are  necessary  before  a 
final  choice  is  made.    Personally,  I  am  inclined  to  think 
that,  with  the  seasoned  printer,  first  impressions  are 
the  best,  largely  because  of  the  fact  that  he  uncon- 
sciously eliminates,  because  of  past  experiences,  many 
designs  which  the  less  practical  man  would  consider 
desirable. 

The  printers  who  possess  this  ability,  born  of  a 
long  experience,  to  evolve  and  mature  their  plans  with- 
out sketches  are,  however,  comparatively  few. 

[28] 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 

So,  for  the  most  of  us,  sketches  are  desirable. 

An  elaborate  sketch  is  not  necessary.  All  that  is 
required  is  an  indication  of  the  sizes  and  shapes  of  the 
various  lines  and  groups.  No  suggestion  of  lettering 
is  necessary.  One  may,  however,  suggest  in  the  sketch 
the  variation  in  tone  which  will  result  from  heavier  or 
larger  type. 

Let  us  consider  a  problem.  We  have  an  advertise- 
ment to  set,  the  copy  for  which  is  as  follows : 

"  The  Principles  of  Design,"  by  Ernest  A.  Batchelder. 
This  book  since  its  publication  has  received  the  unreserved 
commendation  of  teachers  and  students.  It  treats  with  direct- 
ness and  simplicity  the  subject  to  which  all  those  interested 
in  Art  Education  are  giving  careful  thought.  If  any  one  will 
do  what  Mr.  Batchelder  has  here  so  clearly  described  and 
illustrated,  he  will  know  what  constitutes  good  design  and 
rejoice  in  a  keener  eye,  a  more  skilful  hand  and  a  more  dis-. 
criminating  taste  (the  School  Arts  Book).  The  book  contains 
over  one  hundred  unique  and  valuable  illustrations.  We  sug- 
gest an  early  order  for  your  library,  as  the  edition  is  limited. 
Price,  $3.  The  Inland  Printer  Company,  624-632  Sherman 
street,  Chicago. 

Upon  looking  over  the  copy,  we  decide  that  the 
name  of  the  book,  the  author,  the  price  and  the  firm 
selling  it  are  the  essential  features.  How'  to  arrange 
the  advertisement  pleasingly,  bringing  out  these  points 
in  display  is  the  next  question. 

We  make  a  number  of  rough  sketches  of  arrange- 
ments. In  Fig.  5  are  shown  four  different  arrange- 
ments of  .the  copy.  Five  or  ten  minutes  would  be  suf- 
ficient time  in  which  to  make  them.     From  these  we 

[291 


'I 

i 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 


a 


□r 


Fio.  S.— Four  diflFerent  suggestions  for  the  arrangement  of  a  given 
piece  of  copy.  The  advertisements,  as  set  from  these  sketches,  are  shown 
in  Fig.  6. 

[30] 


BlHl'lilli- 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 


THE  PRINCIPLES 
OF  DESIGN  ::  B, 

ERNEST  A.  BATCHELDER 

THIS  BOOK  lincc  its  publication  hu  re- 
ceived the  unreterved  commcndilioii  oi 
teachera  and  ttudenit.  It  treatt  with 
dircrtncat  and  in  a  moai  ilmple  manner  of 
(he  tubiect  10  which  alt  those  interested  in  An 
Education  ar;  (ivinc  careful  thotifht.  "U  any 
one  will  do  what  Mr.  Bitchelder  has  here  so 
clearly  described  and  illutiratcd.  he  will  know 
what  constitutes  |ood  design  and  rejoice  in  a 
keener  eye,  a  more  skilful  hand  and  a  more 
discrimmatint  taste,"  (The  School  Arts 
Book.)  The  book  contains  over  one  hundred 
unique  and  valuable  illustrations.  We  su(- 
(est  an  early  order  for  your  library,  as  the 
edit  ion  is  limited. 

nucB,u.w 

THE  INLAND  PRINTER  COMPANV 

im-IM  ShmM*  Stnn.  Ckka(o.  Ul 

Nf«  Twfc  o>««.  i;»  TM.M.  auf 


THE  PRINCIPLES 
OF  DESIGN 

•/  ERNEST  A.  BATCHELDEK 


THIS  BOOK  since  its  publication  has  re- 
ceived the  unreserved  commendation  of 
teachers  and  students.  It  treats  wKh 
directneu  and  in  a  most  simple  manner  of 
the  subject  to  which  alt  those  interested  in  Art 
Education  are  giving  careful  thought.  "If  any 
one  wilt  do  what  Mr.  Batchelder  has  here  so 
clearly  described  and  illustrated,  he  will  know 
what  constitutes  good  design  and  reiotce  m  a 
keener  eye,  a  more  skilful  hand  and  a  more 
discriminating  taste."  (The  School  Arts 
Book.)  The  book  contains  over  one  hundred 
unique  and  valuable  illustrations.  We  sug- 
gest an  early  order  for  your  library,  as  the 
edition  IS  limited. 

ntCM,  U.M 

THE  INLAND  PRINTER  COMPANY 

Ilt-IM  Slitmaii  SiKM.  Ckicigo,  III. 
■rav^soai..  imTiitoMaMa 


THE  PRINCIPLES 
OF  DESIGN 

Br  ERNEST  A.  BATCHELDER 


JHISBOOKmkcks^i*- 
licatiMi  hat  Mctivtrf  tW 


lion  ot  (hr  icschcn  and 
studtnts  It  tfvati  witli 
diffcrMH  and  in  a  nwn 
Mmplc  mahMr  of  ihr  Mibfcct  lo  which 
all  ihow  intcKnitd  in  Art  Edticaiion 
•nr  firinf  cairful  ihot^hl  "If  any 
one  will  do  what  Mf.  Batchtldcr  ha- 
hcf«  cicatijr  dncribtd  and  illuMntad. 
h»  will  kaow  what  comtiittM  (ood 
df»if«i  and  rrioioe  in  a  kctaar  ty,  a 
MOfr  skilful  hand  and  a  mow  dik- 
CMfninaiinf  iau»  '  (  The  Srhoot  An* 
Aouk  )  Tht  book  trontaim  ovm  out 
liundrad  uniqua  and  valuable  illurtra- 
ttom.  Wt  Miictai  an  aaHy  oidar  lor 
>out  library,  a»  ihandiiian  ■•  linriMd. 

nUCB.ftl.M 

THE  INLAND  PRINTER  COMrANY 

I1B-1M  Shcrntan  Stnrt,  Chicane.  IH. 
)■«•  r*««  OAcf  i7n  r>t»«M  awi 


The 

PRINCIPLES  OF 

DESIGN 

*.rEKNESTA  BATCHELDKK 

THIS  B<X)K  since  Its  publication  has 
received  the  unreserved  commenda- 
tion of  teachers  and  students.  It 
treats  with  directness  and  simplicity 
the  subject  to  which  all  those  mter«ted  in  Art 
Education  arc  giving  careful  thought.  "If  any 
one  will  do  what  Mr.  Ratcheldcr  has  here  so 
clearly  described  and  illustrated,  he  wiH  know 
what  constitutes  good  design  and  rejoice  in  a 
keener  eye.  a  more  skilful  hand  and  a  more 
discrimmaiing  taste."  (The  School  Arts 
Book.)  The  book  contains  over  one  hundred 
unique  and  valuable  illustrations.  We  sug- 
gest an  earty  order  for  your  library,  as  the 
edition  is  limited. 

MICB.  «a.M 

THE  INLAND  PRINTER  COMPANY 
1J»-1J»  Shcnua  Sum,  Ohc^o,  ni 

■iwVwt  OAn.  IT!S  r>tft«M  aMt 


Fig.  6. —  Four  different  arrangements  of  the  same  advertisement,  set 
from  the  sketches  shown  in  Fig.  5. 


[31] 


INTENTIONAL     SECOND  EXPOSURE 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 


Fig.  s.— Four  diflFerent  suggestions  for  the  arrangement  of  a  given 
piece  of  copy.  The  advertisements,  as  set  from  these  sketches,  are  shown 
in  Fig.  6. 

[30] 


THE  PRINCIPLES 
OF  DESIGN  ::  By 

ERNEST  A.  BATCHELDER 


THIS  BOOK  lince  itt  puUicition  hu  rr- 
ccived  the  unretcrved  contmendition  oi 
tcichcn  and  tiudentt.  It  treui  with 
directness  tnd  in  a  most  simple  manner  of 
the  subject  to  which  all  those  interested  in  An 
Education  ar;  (ivint  careful  thought.  "If  any 
one  will  do  what  Mr.  Batchelder  has  here  so 
clearly  described  and  illusiraied,  he  will  know 
what  constitutes  (ood  design  and  retoice  in  a 
keener  tyt,  a  more  skilful  hand  and  a  more 
discriminating  taste,"  (The  School  Arts 
Book.)  The  book  contains  over  one  hundred 
unique  and  valuable  illustrations.  We  sug- 
gest an  early  order  for  your  library,  as  the 
edition  is  limited. 

mCB.U.M 

THE  INLAND  PRINTER  COMPANY 

120-130  Sherman  SiraM.  CKicago.  HI 


THE  PRINCIPLES 
OF  DESIGN 

If  ERNEST  A   BATCHELDER 

THIS  BOOK  since  its  publication  has  re- 
ceived the  unreserved  commendation  of 
teachers  and  students.  It  treats  with 
directness  and  in  a  most  simple  manner  of 
the  subject  to  which  all  those  interested  in  An 
Education  are  giving  careful  thought.  "If  any 
one  will  do  what  Mr.  Batchelder  has  here  so 
clearly  described  and  illusirited,  he  will  know 
what  constitutes  good  design  and  rejoKC  m  a 
keener  eye,  a  more  skilful  hand  and  a  more 
discriminating  taste."  (The  School  Arts 
Book.)  The  book  contains  over  one  hundred 
unique  and  valuable  illustrations.  We  sug- 
gest an  early  order  for  your  library,  as  the 
edition  IS  limited. 

nilCB.  SJ.M 

THE  INLAND  PRINTER  COMPANY 
IM-tM  Skfnua  Sum.  Ckicifo,  III. 

Mm  Vwk  0«ct.  ITi9  TiitaM  aM« 


THE  PRINCIPLES 
OF  DESIGN 


t/  ERNEST  A.  BATCHELBEK 

^  HIS  BOOK  since  mp«b- 
licaiioA  kM  ftctivcd  tW 
unrcifrvcd  commcfMb- 
tion  ot  the  tcachm  mmI 
Mudeni*  It  ttnt%  with 
diMctncM  and  in  a  nioM 
Mni|»l«  matinrr  of  ihr  Mibfici  lo  which 
all  fhoac  inicmtcd  in  An  EducatMn 
ar*  (ivtng  careful  thotighi  "If  any 
oae  will  60  what  Mr  Batchclilcr  hao 
htre  ctcaiijr  dncribed  and  illuMnflarf. 
he  will  know  what  conMitui**  food 
dcvffi  and  rriokY  in  a  kctatr  ly*,  ft 
more  skilful  hand  aiKl  a  more  4ift- 
ciiminaitnc  lauf  '  (  The  School  Art« 
Rot.k.)  Tht  book  contain*  tnr*r  «•» 
luindnd  uniqvt  and  valuable  illuMni* 
lioM,  Wc  M^ntu  an  ciHir  ttidcr  far 
>our  library,  a>  ihcodttion  h  timiMJ. 

PMCK.SS.M 

THE  INLAND  PRINTER  COMPANY 

13D-IM  Sherman  Simh.  Chicle.  IH. 


The 

PRINCIPLES  OF 

DESIGN 

4/ ERNEST  A  BAICHELDER 


THIS  BOOK  since  its  publication  has 
received  rhe  unreserved  comriKnda- 
tion  of  teachers  and  students.  It 
treats  with  directness  and  simplicity 
the  subject  to  which  all  those  mtrrestcd  in  An 
Education  are  giving  careful  thought.  "If  any 
one  will  do  what  Mr.  Ratchelder  has  here  so 
clearly  described  and  illustrated,  he  wiH  know 
what  constitutes  good  design  and  rejoice  in  i 
keener  eye.  a  more  skilful  hand  and  a  more 
discriininatmg  taste  '  (The  School  Am 
Book.)  The  book  contains  over  on«  hundred 
unique  and  valuable  illustrations.     We  sug- 

•*?'.  •"  "^  *"*"  'o'   yo"'  library,  as   the 
edition  is  limited. 

niiCE,  sa.M 

THE  INLAND  PRINTER  COMPANY 
I]*-I3t  Shttmaii  Strnt,  Chicks,  HI 

■towV«l  out,.  ITS  T..>..»  au. 


i 


Fig.  6. —  Four  different  arrangements  of  the  same  advertisement,  set 
from  the  sketches  shown  in  Fig.  5. 

[31] 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

choose  the  one  which  appears  to  be  the  most  desirable 
and  set  our  advertisement  accordingly.  In  this  par- 
ticular instance,  for  the  sake  of  illustration,  the  adver- 
tisement has  been  set  in  the  four  different  arrange- 
ments suggested  in  the  sketches,  and  the  result  is 
shown  in  Fig.  6.  One  could,  with  very  little  effort, 
sketch  a  dozen  different  designs,  differing  even  more 
radically  from  those  here  shown. 

Above  all  things,  keep  your  advertisements  simple 
in  arrangement.  By  this,  I  mean  that  there  should  be 
but  a  few  display  lines  and  but  fev^  groups  of  type. 
Gather  the  matter,  as  far  as  possible,  into  three  or  four 
groups  instead  of  breaking  it  up  into  a  number  of  spots. 

My  plea  for  simplicity  in  advertising  design  is  based 
on  the  fact,  or,  at  least,  the  assumption,  that  the  proc- 
cesses  of  the  mind  in  assimilating  an  advertisement  are 
involuntary.  The  advertisement  should  be  of  such 
nature  that  it  will  attract  and  hold  the  reader's  atten- 
tion without  effort  on  his  part.  For  instance,  you  wish 
to  advertise  a  new  article.  The  reader  has  never  heard 
of  it.  He  is  perhaps  idly  glancing  over  the  advertising 
section  of  his  favorite  magazine.  Never  having  heard 
of  your  article,  he  can  not  possibly  be  looking  for  an 
advertisement  of  it,  and  hence  any  impression  that  he 
may  receive  from  your  advertisement  must  be  invol- 
untary on  his  part.  It  naturally  follows,  then,  that 
your  most  successful  advertising  will  be  of  such  a 
nature  that  he  may  comprehend  its  vital  points  at  a 
glance  and  with  the  least  possible  mental  effort.  Ordi- 
narily, this  can  be  brought  about  only  through  a  simple 
treatment.  r    , 


CHAPTER  III. 


Good  taste  in  printing  does  not  consist  altogether  of  a  knowledge  of 
what  to  use  and  where  to  use  it;  more  often  does  it  consist  of  a  knowl- 
edge of  what  not  to  use. 


T  costs  no  more  to  set  a  good  adver- 
tisement than  it  does  to  set  a  poor 
one  —  in  fact,  it  usually  costs  less. 
This  is  because  the  men  who  set  the 
good  advertisements  have  learned 
the  value  of  a  simple  type-design. 
As  a  usual  thing,  the  appreciation 
of  simplicity  comes  only  with  expe- 
rience and  careful  observation. 

To  quote  a  remark  recently  made  by  a  job-printer, 
"  It  takes  a  lot  of  study  to  get  where  you  can  do  the 
simple  things." 

The  compositor  is  more  than  likely  to  be  carried 
away  by  his  appreciation  of  the  mechanical  effects 
accompanying  certain  kinds  of  typography.  He  revels 
in  panelwork,  in  the  late  decorative  effects,  etc. —  all 
complicated,  and  therefore  expensive,  forms  of  type- 
design. 

In  laying  out  an  advertisement  one  should  see  that 
the  strongest  display  is  at  or  near  the  top.  The  eye 
naturally  seeks  the  top  of  the  page  first ;  we  read  from 

[331 


0\ 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 


the  top  down ;  and  the  point  to  which  the  eye  is  first 
attracted  is  the  logical  point  at  which  to  place  the 
strongest  display.    Structurally,  the  advertisement  with 


The  Smith -Wallace 
Evening  Clothes 

While  the  question  of  improvement 
in  the  quality  of  our  product  may  be  a 
debatable  one,  there  is  always  a  possi* 
bility  of  improving  factory  facilities. 

Our  new  building,  to  be  erected  dur- 
ing the  coming  year,  with  its  complete 
modern  equipment,  will  enable  us  to 
increase  enormously  our  annual  output 
and  still  confine  every  stage  of  manu- 
facture within  our  own  walls.  In  its 
mechanical  and  sanitary  features  it  will 
be  on  a  scale  of  excellence  not  sur- 
passed by  that  of  any  other  establish- 
ment in  the  country. 

Smithy  Wallace  &  Co. 

Chicago 


Fig.  7. —  The  small  heading  and  large  signa- 
ture line  give  this  advertisement  the  appearance 
of  being  upside  down  in  design. 

a  good  strong  caption  is  pleasing,  while  the  advertise- 
ment with  a  weak  heading  and  a  strong  display  in  the 
lower  part  has  the  appearance  of  being  "  top  heavy  at 

[34I 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 


the  bottom."  An  illustration  of  this  is  found  in  the 
advertisements  shown  in  Figs.  7  and  8.  In  Fig.  7  the 
small  heading  and  large  signature  line  at  the  bottom 


The  Smith-Wallace 
Evening  Clothes 

While  the  question  of  improvement 
in  the  quality  of  our  product  may  be  a 
debatable  one,  there  is  always  a  possi- 
bility of  improving  factory  facilities. 

Our  new  building,  to  be  erected  dur- 
ing the  coming  year,  with  its  complete 
modern  equipment,  will  enable  us  to 
increase  enormously  our  annual  output 
and  still  confine  every  stage  of  manu- 
facture within  our  own  walls.  In  its 
mechanical  and  sanitary  features  it  will 
be  on  a  scale  of  excellence  not  sur- 
passed by  that  of  any  other  establish- 
ment in  the  country. 

Smith,  Wallace  &  Co. 

Chicago 


Fig.  8. —  The  design  should  be  heaviest  at, 
or  near,  the  top.  A  good  strong  caption  in- 
sures this. 

give  the  advertisement  the  appearance  of  being  upside 
down  in  design.  In  Fig.  8  the  order  of  strength  of 
display  is  reversed,  and  one  can  not  but  feel  that  as  a 


3 


[35] 


INTENTIONAL     SECOND  EXPOSURE 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 


the  top  down ;  and  the  point  to  which  the  eye  is  first 
attracted  is  the  logical  point  at  which  to  place  the 
strongest  display.    Structurally,  the  advertisement  with 


The  Smith -Wallace 
Evening  Clothes 

While  the  question  of  improvement 
in  the  quality  of  our  product  may  be  a 
debatable  one,  there  is  always  a  possi- 
bility  of  improving  factory  facilities. 

Our  new  building,  to  be  erected  dur* 
ing  the  coming  year,  with  its  complete 
modern  equipment,  will  enable  us  to 
increase  enormously  our  annual  output 
and  still  confine  every  stage  of  manu- 
facture within  our  own  walls.  In  its 
mechanical  and  sanitary  features  it  will 
be  on  a  scale  of  excellence  not  sur- 
passed by  that  of  any  other  establish- 
ment in  the  country. 

Smithy  Wallace  &  Co. 

Chicat^o 


Fig.  7. —  The  small  heading  and  large  signa- 
ture line  give  this  advertisement  the  appearance 
of  being  upside  down  in  design. 

a  good  strong  caption  is  pleasing,  while  the  advertise- 
ment with  a  weak  heading  and  a  strong  display  in  the 
lower  part  has  the  appearance  of  being  ''  top  heavy  at 

[341 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 


the  bottom."  An  illustration  of  this  is  found  in  the 
advertisements  shown  in  Figs.  7  and  8.  In  Fig.  7  the 
small  heading  and  large  signature  line  at  the  bottom 


The  Smith-Wallace 
Evening  Clothes 

While  the  question  of  improvement 
in  the  quality  of  our  product  may  be  a 
debatable  one,  there  is  always  a  possi- 
bility of  improving  factory  facilities. 

Our  new  building,  to  be  erected  dur- 
ing the  coming  year,  with  its  complete 
modern  equipment,  will  enable  us  to 
increase  enormously  our  annual  output 
and  still  confine  every  stage  of  manu- 
facture within  our  own  walls.  In  its 
mechanical  and  sanitary  features  it  will 
be  on  a  scale  of  excellence  not  sur- 
passed by  that  of  any  other  establish- 
ment in  the  country. 

Smith,  Wallace  &  Co. 

Chicago 


Fig.  8. —  The  design  should  be  heaviest  at, 
or  near,  the  top.  A  good  strong  caption  in- 
sures this. 

give  the  advertisement  the  appearance  of  being  upside 
down  in  design.  In  Fig.  8  the  order  of  strength  of 
display  is  reversed,  and  one  can  not  but  feel  that  as  a 


[35] 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

pleasing  distribution  of  color  and   form  it  is  much 
superior  to  the  other. 

Another  point  which  the  compositor  shbuld  keep 
in  mind  is :  Avoid,  as  much  as  possible,  the  use  of 
pyramid  forms  of  type.     The  inverted  pyramid  form 


Fig.  9. —  The  pyramid  form  shown  in  A  is  rarely  pleasing  in 
typography,  while  the  inverted  pyramid  (B)  lends  itself  readily  to 
design  for  printing. 

will  be  found  much  more  satisfactory  in  almost  every 
instance. 

Just  why  the  inverted  pyramid  form  is  more  pleas- 
ing than  the  pyramid  form  in  typography  is  a  matter 
of  some  conjecture,  and  one  finds  it  rather  difficult  to 
lay  down  any  direct,  convincing  principle  on  this  point. 
My  own  theory  is  that  the  point  made  by  designers, 
and  jewelry  designers  in  particular,  that  a  form  which 
hangs  pendant  should  be  smaller  at  the  bottom,  may 
bear  on  the  shape  of  the  group  of  type.  Structurally, 
a  form  which  hangs  pendant  should  be  suspended  from 

[36] 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 

its  strongest  point,  and  it  naturally  follows  that  when 
a  triangular  form  hangs  pendant  it  should  be  the  small- 
est at  the  bottom.  One  may  liken  the  group  of  type 
to  this,  and  assume  that  the  type  on  the  page  is  in 
effect  hanging  from  the  top.  All  our  arrangements 
of  the  printed  page  bear  out  this  assumption.  We 
have  our  widest  margin,  where  the  margins  are  varied, 
at  the  bottom,  our  short  run-over  pages  are  at  the  top, 
and  we  put  our  heaviest  display  at  the  top.  The 
designers  of  our  typographical  decorations  evidently 
have  recognized  this  principle  and  in  a  large  measure 
conformed  to  it,  and  we  find  comparatively  few  tri- 
angular decorations  that  are  not  the  widest  at  the  top. 
Note  the  difference  between  the  two  ornaments  shown 
in  Fig.  9. 

Then,  too,  the  fact  that  the  composition  of  an 
advertisement,  like  the  composition  of  a  painting, 
should  be  of  such  nature  that  it  will  lead  the  eye  easily 
from  one  point  to  the  other,  may  have  a  bearing  on 
this  question  of  pyramid  and  inverted  pyramid  forms. 
The  natural  course  of  the  eye  in  following  an  adver- 
tisement is  from  the  top  toward  the  bottom,  while  the 
natural  course  of  the  eye  in  following  a  pyramid  form 
is  from  the  base  to  the  apex.  It  therefore  follows  that 
where  the  two  are  thrown  together  the  result  is  one  of 
conflict  or  complication  —  in  effect  the  eye  is  trying  to 
read  upward  and  downward  at  the  same  time.  If  the 
pyramid  form  is  placed  at  the  top,  as  shown  in  Fig.  10, 
the  natural  tendency  of  its  shape  is  to  carry  the  eye 
to  its  apex,  and  thus  entirely  out  of  the  advertisement. 

[37] 


INTENTIONAL     SECOND  EXPOSURE 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 


pleasing   distribution   of   color   and   form   it   is   much 
superior  to  the  other. 

Another  point  which  the  compositor  should  keep 
in  mind  is :  Avoid,  as  much  as  possible,  the  use  of 
pyramid  forms  of  type.     The  inverted  pyramid  form 


Fig.  9. —  The  pyramid  form  shown  in  A  is  rarely  pleasing  in 
typography,  while  the  inverted  pyramid  (B)  lends  itself  readily  to 
design  for  printing. 

will  be  found  much  more  satisfactory  in  almost  every 
instance. 

Just  why  the  inverted  pyramid  form  is  more  pleas- 
ing than  the  pyramid  form  in  typography  is  a  matter 
of  some  conjecture,  and  one  finds  it  rather  difficult  to 
lay  down  any  direct,  convincing  principle  on  this  point. 
My  own  theory  is  that  the  point  made  by  designers, 
and  jewelry  designers  in  particular,  that  a  form  which 
hangs  pendant  should  be  smaller  at  the  bottom,  may 
bear  on  the  shape  of  the  group  of  type.  Structurally, 
a  form  which  hangs  pendant  should  be  suspended  from 

[36] 


THE   TYPOGRAPHY   OF  ADVERTISEMENTS 

its  strongest  point,  and  it  naturally  follows  that  when 
a  triangular  form  hangs  pendant  it  should  be  the  small- 
est at  the  bottom.  One  may  liken  the  group  of  type 
to  this,  and  assume  that  the  type  on  the  page  is  in 
effect  hanging  from  the  top.  All  our  arrangements 
of  the  printed  page  bear  out  this  assumption.  We 
have  our  widest  margin,  where  the  margins  are  varied, 
at  the  bottom,  our  short  run-over  pages  are  at  the  top, 
and  we  put  our  heaviest  display  at  the  top.  The 
designers  of  our  typographical  decorations  evidently 
have  recognized  this  principle  and  in  a  large  measure 
conformed  to  it,  and  we  find  comparatively  few  tri- 
angular decorations  that  are  not  the  widest  at  the  top. 
Note  the  difference  between  the  two  ornaments  shown 
in  Fig.  9. 

Then,  too,  the  fact  that  the  composition  of  an 
advertisement,  like  the  composition  of  a  painting, 
should  be  of  such  nature  that  it  will  lead  the  eye  easily 
from  one  point  to  the  other,  may  have  a  bearing  on 
this  question  of  pyramid  and  inverted  pyramid  forms. 
The  natural  course  of  the  eye  in  following  an  adver- 
tisement is  from  the  top  toward  the  bottom,  while  the 
natural  course  of  the  eye  in  following  a  pyramid  form 
is  from  the  base  to  the  apex.  It  therefore  follows  that 
where  the  two  are  thrown  together  the  result  is  one  of 
conflict  or  complication  —  in  effect  the  eye  is  trying  to 
read  upward  and  downward  at  the  same  time.  If  the 
pyramid  form  is  placed  at  the  top,  as  shown  in  Fig.  10, 
the  natural  tendency  of  its  shape  is  to  carry  the  eye 
to  its  apex,  and  thus  entirely  out  of  the  advertisement. 

[37] 


^M5^|**2 


«MttW'iwwflt*i"*ii*-<ii»r' 


iiillPWH— iHitWUPl 


SSBS 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 


The  reading-matter  itself  suggests  a  movement  of  the 
eye  from  top  to  bottom,  while  the  shape  of  the  group 


The 

Harrington  Press 

Improves  Your  Work 

Harrington  Presses  are  now  in 
evidence  from  one  coast  to  the 
other  and  from  Canada  to  the 
Gulf  of  Mexico.  If  they  had 
not  made  good  the  purchasers 
would  not  have  kept  them  and 
.would  not  be  making  second  and 
third  orders  now. 
It  it  not  merely  the  fact  that  our 
output  is  so  greatly  oversold — it 
is  the  fact  that  there  are  hun- 
dreds of  Harrington  Presses  now 
in  use  and  paid  for  that  speaks 
so  convincingly  of  the  surpassing 
merits  of  these  machines. 

ff^rite  fir  Prices 

Harrington  Press  Company 

Cbie«|o  and  New  York 


Fig.  10. —  The  natural  course  of  the  eye  in 
following  a  pyramid  form  is  from  the  base  to 
the  apex,  and  when  a  pyramid  form  is  placed 
at  the  top  of  a  design  it  has  a  tendency  to 
carry  the  eye  out  of  the  advertisement. 

suggests  a  movement  from  the  bottom  upward.  In 
Fig.  II,  the  arranging  of  the  same  heading  in  an 
inverted   pyramid    form    results   in   a   more   pleasing 

[38] 


!k1 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 


appearance,  due  to  the  fact  that  both  the  reading-matter 
and  the  shape  of  the  group  have  a  tendency  to  carry 


The  Harrington  Press 

Improves  Your 

Work 

Harrington  Presses  are  now  in 
evidence  from  one  coast  to  the 
other  and  from  Capada  to  the 
Gulf  of  Mexico.  If  they  had 
not  made  good  the  purchasers 
would  not  have  kept  them  and 
would  not  be  making  second  and 
third  orders  now. 
It  it  not  merely  the  fact  that  our 
output  is  so  greatly  oversold — it 
is  the  fact  that  there  are  hun- 
dreds of  Harrington  Presses  now 
in  use  and  paid  for  that  speaks 
so  convincingly  of  the  surpassing 
merits  of  these  machines. 

fVrite  for  Prices 

Harrington  Press  Company 

Cbiccgo  and  New  York 


Fig.  II. —  Here  the  shape  of  the  upper 
group  tends  to  carry  the  eye  directly  into  the 
advertisement. 

the  eye  in  the  same  direction  —  into  the  center  of  the 
advertisement. 

The  same  principle  appHes  to  the  composition  of 
a  group  of  Hnes  which  are  squared  up  at  one  end  —  an 

[39] 


INTENTIONAL     SECOND  EXPOSURE 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

The  reading-matter  itself  suggests  a  movement  of  the 
eye  from  top  to  bottom,  while  the  shape  of  the  group 


The 

Harrington  Press 

Improves  Your  Work 

Harrington  Presses  are  now  in 
evidence  from  one  coast  to  the 
other  and  from  Canada  to  the 
Gulf  of  Mexico.  If  they  had 
not  made  good  the  purchasers 
would  not  have  kept  them  and 
.would  not  be  making  second  and 
third  orders  now. 
It  it  not  merely  the  fact  that  our 
output  is  so  greatly  oversold — it 
is  the  fact  that  there  are  hun- 
dreds of  Harrington  Presses  now 
in  use  and  paid  for  that  speaks 
soconvincingly  of  the  surpassing 
merits  of  these  machines. 

IVrite  ftr  Prices 

Harrington  Press  Company 

Cbiea^o  «nd  New  York 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

appearance,  due  to  the  fact  that  both  the  reading-matter 
and  the  shape  of  the  group  have  a  tendency  to  carry 


Fig.  10. —  The  natural  course  of  the  eye  in 
following  a  pyramid  form  is  from  the  base  to 
the  apex,  and  when  a  pyramid  form  is  placed 
at  the  top  of  a  design  it  has  a  tendency  to 
carry  the  eye  out  of  the  advertisement. 

suggests  a  movement  from  the  bottom  upward.  In 
Fig.  II,  the  arranging  of  the  same  heading  in  an 
inverted   pyramid    form    results   in   a   more   pleasing 

[38] 


The  Harrington  Press 

Improves  Your 

Work 

Harrington  Presses  arc  now  in 
evidence  from  one  coast  to  the 
other  and  from  Capada  to  the 
Gulf  of  Mexico.  If  they  had 
not  made  good  the  purchasers 
would  not  have  kept  them  and 
would  not  be  making  second  and 
third  orders  now. 
It  it  not  merely  the  fact  that  our 
output  is  so  greatly  oversold — it 
is  the  fact  that  there  are  hun- 
dreds  of  Harrington  Presses  now 
in  use  and  paid  for  that  speaks 
soconvincinglyof  the  surpassing 
merits  of  these  machines. 

fVrite  for  Prices 

Harrington  Press  Company 

Chicago  and  New  York 


Fig.  II. —  Here  the  shape  of  the  upper 
group  tends  to  carry  the  eye  directly  into  the 
advertisement. 

the  eye  in  the  same  direction  —  into  the  center  of  the 
advertisement. 

The  same  principle  applies  to  the  composition  of 
a  group  of  lines  which  are  squared  up  at  one  end  —  an 

[391 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

arrangement  which  is  at  times  considered  desirable. 
This  is  illustrated  in  the  two  arrangements  shown  in 
Fig.  12. 

It  is  not  always  possible  to  arrange  the  type  in  a 


Fig.  12. —  In  A  the  arrangement  of  the  heavy  lines  is  not 
pleasing,  due  to  the  fact  that  their  shape  as  a  group  tends  to 
carry  the  eye  toward  the  top  of  the  page,  instead  of  toward  the 
text.    The  arrangement  shown  in  B  is  much  more  satisfactory. 

heading  of  this  kind  in  such  manner  that  the  longest 
line  will  be  at  the  top,  but  care  should  be  taken  that 
it  is  considerably  above  the  center  and  not  below  it. 
Note  the  difference  between  the  two  examples  shown 
in  Fig.  13. 

These   side   arrangements    should,   as   a    rule,    be 
avoided,  as  the  balancing  of  the  various  groups  on  a 

[40] 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 

central  axis  is  in  nearly  every  instance  productive  of 

,the  best  results.    This  is  particularly  noticeable  in  the 

illustration  shown  in  Fig.  14.     Here  the  endeavor  to 

obtain  originality  of  treatment  has  led  to  a  placing  of 


B 


Fig.   13. —  The  widest  line  of  a  heading  of  this  kind  should  be  at, 
or  near,  the  top,  as  in  B,  and  not  near  the  bottom,  as  in  A. 

the  display  lines,  both  at  the  top  and  bottom  of  the 
advertisement,  in  positions  which  break  up  the  sym- 
metrical arrangement  of  the  design.  Except  in  very 
rare  instances,  the  word  "  symmetrical,"  as  applied  to 
typographical  design,  means  having  both  sides  of  the 
design  equal,  and,  therefore,  when  we  speak  of  a 
printed  page  being  symmetrical  we  usually  mean  that 
it  is  balanced  on  a  central  axis  —  that  all  lines  are  cen- 

[41] 


II 


INTENTIONAL     SECOND  EXPOSURE 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

arrangement  which  is  at  times  considered  desirable. 
This  is  illustrated  in  the  two  arrangements  shown  in 
Fig.  12. 

It  is  not  always  possible  to  arrange  the  type  in  a 


Fig.  12. —  In  A  the  arrangement  of  the  heavy  lines  is  not 
pleasing,  due  to  the  fact  that  their  shape  as  a  group  tends  to 
carry  the  eye  toward  the  top  of  the  page,  instead  of  toward  the 
text.    The  arrangement  shown  in  B  is  much  more  satisfactory. 

heading  of  this  kind  in  such  manner  that  the  longest 
line  will  be  at  the  top,  but  care  should  be  taken  that 
it  is  considerably  above  the  center  and  not  below  it. 
Note  the  difference  between  the  two  examples  shown 
in  Fig.  13. 

These   side   arrangements    should,   as   a    rule,   be 
avoided,  as  the  balancing  of  the  various  groups  on  a 

[40] 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 

central  axis  is  in  nearly  every  instance  productive  of 

,the  best  results.    This  is  particularly  noticeable  in  the 

illustration  shown  in  Fig.  14.    Here  the  endeavor  to 

obtain  originality  of  treatment  has  led  to  a  placing  of 


Fig.   13. —  The  widest  line  of  a  heading  of  this  kind  should  be  at, 
or  near,  the  top,  as  in  B,  and  not  near  the  bottom,  as  in  A. 

the  display  lines,  both  at  the  top  and  bottom  of  the 
advertisement,  in  positions  which  break  up  the  sym- 
metrical arrangement  of  the  design.  Except  in  very 
rare  instances,  the  word  "  symmetrical,"  as  applied  to 
typographical  design,  means  having  both  sides  of  the 
design  equal,  and,  therefore,  when  we  speak  of  a 
printed  page  being  symmetrical  we  usually  mean  that 
it  is  balanced  on  a  central  axis  —  that  all  lines  are  cen- 

[41] 


i| 


M 


I 


HJti,"  mi  .t^tlFi^ui 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 

tered.  While  there  are,  of  course,  no  laws  or  rules  of 
good  composition  which  may  not  at  times  be  violate<^ 
with  good  results,  still  as  a  general  proposition  the 


I 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 


ADOPT  THE  SPIRIT 

OF  THE  JAP 


When  the  Lidit  Brown  Jipi  decided  to  become  modtrntzcd, 
ih*y  went  iboui  it  •btolurcly  wiihom  pfTiwdxe.  TKey 
tttfdted  the  modcfn  wiy  of  doiwt  thiny.  They  pklu« 
•id  choM  and  adopted  the  bct(  nneihodt-  Nothiiif  was 
uoftd  at.  everything  w»  judged  on  itt  own  menit. 
The  retuli  i«  ihit  in  U%%  ih«n  fcfiy  ye»n  Japan  ha»  become 
one  of  the  World'*  po.*ef«  and  iKe  «orld  i«  tlill  gasping 
•n  aiionifhmeni  over  the  feat. 

Now.  the  business  mm  who  carries  (he  spirit  of  our  iittW 
bfown  oriental  frtcnd  tnio  his  bustQesa  methods,  it  bound 
lo  outgrow  Kis  competitors, just  as  the  OfKC  incomcquential 
Jap  outgrew  the  haughty  Russian. 

Don'ukt  your  progress  be  hampered  by  tradition  or  pre- 
|udwe.  Let  merit  be  iht  prinnple  of  your  busmest 
conduct— the  merit  of  the  merchandise  >ou  offer  to  the 
people.  Give  your  customer  a  garment  which  will  make 
him  come  the  neRt  season  for  o^e  of  the  same  make 
THc  "EFFEFF  '  clothmg  «.ll  do  this  and  mere  It 
will  enaMe  you  to  outgrow  your  compctadrs,  becauae 
*'  EFF-EFF'  garments  for  Spnngjnd  Summer  arc  bryond 
eompeiittofi— be>ond  k  ai  an>  givfn  price  m  fabrKS,  ift 
tailoring  ind  fl<tlc 

On  TtcMtiaer  TisM  e«. 

n«*yirii 


centered,  and  one  can  hardly  fail  to  note  how  much 
easier  it  is  for  the  eye  to  grasp  and  take  in  the  design 
as  a  whole.    The  rearrangement  is  orderly  and  pleas- 


m 


Fig.  14. —  A  symmetrical  appearance  has 
been  sacrificed  in  an  attempt  to  secure  orig- 
inality.    Compare  with  Fig.   15. 

violation  of  this  principle  of  symmetry  is  usually 
attended  by  effects  that  are  not  pleasing.  In  the  rear- 
rangement, Fig.    15,  the  display  lines  have  all  been 

[42] 


ADOPT  THE  SPIRIT 
OF  THE  JAP 


When  the  Utttc  Brown  Japs  decided  co  become  moderaized, 
they  w^nt  about  it  absolutely  without  prgudtce.  They 
studied  the  modem  way  of  doing  things.  They  picked 
and  chose  and  adopted  the  best  methods-  Nothing  waa 
scoffed  at,  everything  was  judged  on  itt  own  menta. 
The  result  is  that  in  lesa  than  fifty  years  Japan  has  become 
one  of  the  World's  powers  an<i  the  world  is  atiU  gasping 
in  asconiahment  over  the  feat. 

New,  the  business  man  who  carries  the  spirit  of  our  little 
brown  orienul  friend  into  his  business  methods,  is  bound 
to  outgrow  his  competiron,  just  as  the  once  inconsequential 
Jap  oucgrfl|i  the  haughty  Russian. 

Don't  lee  your  progress  be  hampered  by  tradition  or  prc- 
judice.  Let  merit  be  the  principle  of  your  business 
conduct — the  merit  of  the  merchandise  you  offer  to  the 
people.  Give  your  customer  a  garment  which  will  make 
him  come  the  next  season  for  one  of  the  tame  make. 
The  **EFF-EFF"  clothing  will  do  this  and  more.  It 
will  enable  you  to  outgrow  your  competitors,  because 
"EFF'EFF"  garments  for  Springand  Summer  are  beyond 
competition — beyond  it  at  any  given  price  in  fitbrics,  in 
tailoring  and  style. 

CM  TtcMciacr  mhtl  Co. 

;M-74*-7M  I 

Bwnrt 


Fig.  15. —  Balancing  the  display  lines  on  a 
central  axis  gives  symmetry  and  a  better  dis- 
tribution of  white  space. 

ing;    the  original  is   disorderly  and,  therefore,   con- 
fusing. 

A  most  necessary  requisite  in  the  composition  of 

[43] 


INTENTIONAL     SECOND  EXPOSURE 


THE   TYPOGRAPHY  OF  ADVERTISEMENTS 

tered.  While  there  are,  of  course,  no  laws  or  rules  of 
good  composition  which  may  not  at  times  be  violatec^ 
with  good  results,  still  as  a  general  proposition  the 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 


ADOPT  THE  SPIRIT 

OF  THE  JAP 


When  the  Littif  Brown  Japs  decided  (O  become  modcrntzed, 
tKey  went  tbovi  it  ibsolutely  without  prejudtce.  TKry 
Mudied  the  modern  w>y  of  domg  ihmti.  They  picket 
t'vd  choM  And  Mtopird  the  best  methods-  Nothing  was 
Koffrd  at.  evrrythmg  wis  judged  on  its  own  mentt. 
The  result  is  thn  \\\  lets  th«n  hfiy  years  Jspin  his  become 
one  of  the  World's  po*fr«  tnd  the  »orld  ts  still  g»p<^C 
•n  utontshment  o^rr  the  feit. 

No*,  the  business  msn  who  (srnes  the  spirit  of  our  little 
brown  orirnul  frtend  into  his  business  methods,  is  bound 
to  outgrow  his  competttort.just  %%  the  o«kc  inconsequential 
Jap  outgrew  the  haughty  Russian. 

Don'ulet  your  progress  be  hampered  by  traction  or  pre- 
l^ice.  Let  merit  be  the  principle  of  your  business 
coAduct—thc  mem  of  the  merchandise  >ou  oftcr  to  the 
people.  Civf  your  cuMomer  a  garment  which  will  make 
Ktm  come  the  ne Bt  season  for  o>ie  of  the  tame  make 
The  "EFF-EFF  '  clothmg  «ili  do  ihii  and  more  It 
will  enaMc  you  to  outgrow  your  rompctitda.  because 
"EFF-EFF'  gvmenrt  for  Sptmgsnd  Summer  are  beyond 
competition— be) ond  it  at  any  gtvtn  price  in  fabnct.  ui 
(ailofing  and  sttle 

CN  Tecbbtimr  Tisbtl  eo. 

;u;u-7M  Bro«Mf 
mv  y«rii 


centered,  and  one  can  hardly  fail  to  note  how  much 
easier  it  is  for  the  eye  to  grasp  and  take  in  the  design 
as  a  whole.    The  rearrangement  is  orderly  and  pleas- 


Fig.  14. —  A  symmetrical  appearance  has 
been  sacrificed  in  an  attempt  to  secure  orig- 
inality.    Compare  with  Fig.   15. 

violation  of  this  principle  of  symmetry  is  usually 
attended  by  effects  that  are  not  pleasing.  In  the  rear- 
rangement, Fig.    15,  the  display  lines  have  all  been 

[42] 


"wSn 


ADOPT  THE  SPIRIT 
OF  THE  JAP 


When  the  Little  Brown  japs  decided  to  becotne  modeniized, 
they  went  about  it  absolutely  without  preiudice.  They 
ttudied  the  modern  way  of  doing  things.  They  picked 
and  chose  and  adopted  the  best  methods-  Nothing  wu 
scoffed  at,  everything  was  judged  on  ita  own  merit*. 
The  mult  is  that  in  less  than  fifty  years  Japan  has  become 
one  of  the  World's  powers  and-tf.e  world  is  ttill  gasping 
in  astonishment  over  the  feat. 

Now,  the  butinets  man  who  carries  the  spirit  of  our  little 
brown  oriental  friend  into  his  business  methods,  is  bound 
to^  outgrow  his  competitors, just  is  the  once  inconsequential 
Jap  outgrep  the  haughty  Russian. 

Don't  let  your  prtigress  be  hampered  by  tradition  or  pre- 
judtcc.  Let  merit  be  the  principle  of  your  business 
conduct — the  merit  of  the  merchandise  you  offer  to  the 
people.  Give  your  customer  a  garment  which  will  make 
him  come  the  next  season  for  one  ot*  the  same  make. 
The  "EFF'EFF"  clothing  will  do  this  and  more.  It 
will  enable  you  to  outgrow  your  competitors,  because 
"EFF-EFF"  garments  for  Springand  Summer  are  beyond 
competition— beyond  it  at  any  given  prkc  in  fiUmcs,  in 
tailoring  and  style. 

DC  f  tcMeiotr  WM  Co. 
Dmtirt 


II 


Fig.  15. —  Balancing  the  display  lines  on  a 
central  axis  gives  symmetry  and  a  better  dis- 
tribution of  white  space. 

ing;    the  original  is   disorderly  and,  therefore,   con- 
fusing. 

A  most  necessary  requisite  in  the  composition  of 

[43I 


piw*«iu.  '^"nmmp^i.jMJiT^ 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

an  advertisement  is  proportion.  We  must  consider 
proportion  in  the  relation  of  border  to  text,  in  the 
margins  of  white  space  around  the  advertisement,  in 


Natures  Purest  POME  ROY. . 

^^^"^y  ^^'"^  •  •  SKIN  FOOD 


A  moM  viAmM*  TfMlci  PWfMirjnoii  SoA«m  the  Skm,  esprh 
•II  impuriticii,  and  cn«urr>  i  hcahhy,  ntiural  completion.  ^ 
A  boon  10  thovc  cngagrJ  m  outJuor  <bponi  or  mJdor  dulicv 
For  mother  and  hab>  nothmic  can  lalic  »•>  place  li  rcnc<i^%ihc 
tiin  khcn  chafed  »t  ihe  tea^idf  .  tn  the  cuumry  it  proHrcn  your 
contplck<on  trnm  ^unbyrn.  pncily  hrai.  and  Mm 


POMEROY..  ^^r"".  .= 

^.,.^,    .r^.^.-^i,-^     woman  s  race 
SKIN    FOOD    herCharn, 


THE  TOILET  BALM  FOR.. 
SUMMER  DAYS  AND  NIGHTS 


J^.»  •'„'"    Is.  6d.,  2s.  6d..  3s.  6d.,  .Ss.. 


o*  rosT  tni  rxm 


Mrs.  Pomeroy ,  L,d   29.  oib^nb  street 


I 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

the  definition  of  the  word.  Proportion  is  defined  as 
the  pleasing  inequality  in  the*  parts  of  an  object. 
Mark  you,  pleasing  inequality.     The  different  panels, 


Fig.  16. —  The  groups  of  type  in  this  adver- 
tisement are  too  nearly  equal  in  size.  There  is 
not  enough  variety.  They  divide  the  page  into 
spaces  nearly  equal  in  size,  as  shown  in  the 
diagram  in  Fig.   17. 

the  distribution  of  the  white  space  in  the  advertise- 
ment, and  in  the  arrangement  of  the  various  groups 
and  panels.  To  consider  this  question  of  proportion 
in  an  intelligent  manner  we  must  properly  understand 

[44] 


Fig.  17. —  A  diagram  of  the  groups  of  type 
in  the  advertisement  shown  in  Fig.  16.  The 
division  of  the  advertisement  into  spaces  of  the 
same  size  is  not  pleasing.  There  is  not  enough 
variety. 

borders,  groups  of  text,  or  whatever  else  goes  to  make 
up  the  advertisement,  must  vary  in  size.  Not  only 
that,  but  the  variation  must  be  pleasing.  Then  the 
question  is,  "What  constitutes  a  pleasing  variation?" 

[45] 


INTENTIONAL     SECOND  EXPOSURE 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

an  advertisement  is  proportion.  We  must  consider 
proportion  in  the  relation  of  border  to  text,  in  the 
margins  of  white  space  around  the  advertisement,  in 


4 


Natures  Purest  POME  ROY.  . 
Beauty  Balm..  c;K  IN   FOOD 


A  moM  vilusble  Toifcr  PrtpjriDon  Softens  ihe  Skin.  cvpcH 
StI  tmpunticrt,  and  enturr^  •  hctlthy.  niiurjl  compivvtun.  j0 
A  boon  lo  rho^c  cnga)j;ej  in  omduor  ^pun^  or  inJ<KM-  duticv 
For  miMher  and  t>ab>  n»ih(n(  can  lakt  m  place  It  rrnc^s  ihc 
tkm  ifehcB  chafed  ai  the  uaMdc  .  tn  the  country  if  pnitect^  your 
cowplvxtoii  frttm  lyMhttfH.  prtdtly  lir«.  and  hittk 


POMEROY. .  ^r' '.  . 

______    _-,,~.^^-^     woman  s  Face 

SKIN    FOOD    her  Charm 


.THE  TOILET  BALM  FOR  .. 
SUMMER  DAYS  AND  NIGHTS 


*~»»,''n  "    Is-  6d.,  2s.  6d..  3s.  6d..  .Ss., 


01 HMT  tni  raoa 


Mrs.  Pomeroy ,  L,d    29.  Old  »oii6  Street 


"Xondon 


Fig.  i6. —  The  groups  of  type  in  this  adver- 
tisement are  too  nearly  equal  in  size.  There  is 
not  enough  variety.  They  divide  the  page  into 
spaces  nearly  equal  in  size,  as  shown  in  the 
diagram  in  Fig.   17. 

the  distribution  of  the  white  space  in  the  advertise- 
ment, and  in  the  arrangement  of  the  various  groups 
and  panels.  To  consider  this  question  of  proportion 
in  an  intelligent  manner  we  must  properly  understand 

[44] 


THE   TYPOGRAPHY   OF  ADVERTISEMENTS 

the  definition  of  the  word.  Proportion  is  defined  as 
the  pleasing  inequality  in  the  parts  of  an  object. 
Mark  you,  pleasing  inequality.     The  different  panels, 


Fig.  17. —  A  diagram  of  the  groups  of  type 
in  the  advertisement  shown  in  Fig.  16.  The 
division  of  the  advertisement  into  spaces  of  the 
same  size  is  not  pleasing.  There  is  not  enough 
variety. 

borders,  groups  of  text,  or  whatever  else  goes  to  make 
up  the  advertisement,  must  vary  in  size.  Not  only 
that,  but  the  variation  must  be  pleasing.  Then  the 
question  is,  "What  constitutes  a  pleasing  variation?" 

[451 


( 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 


While  varying  conditions  may  and  do  demand  dif- 
ferent treatments,  there  is  one  ratio  of  proportion, 
universally  recognized,  that  applies  particularly  to  the 


Nature 's  Purest  Beauty  Bairn 

Pomeroy  Skin  Food 

A  most  valuable  Toilet  Preparation. 
Softens  the  Skin,  expels  all  impuri- 
ties,  and  ensures  a  healthy,  natural 
complexion.  A  boon  to  those  en- 
gaged in  outdoor  sports  or  indotr 
duties.  For  mother  and  baby  nothing 
can  take  its  place.  It  renews  the  skin 
when  chafed  at  the  seaside;  in  the 
country  it  protects  your  complexion 
from  sunburn,  prickly  heat  and  bites. 

Pomeroy  Skin  Food 

Keeps  a  Woman's  Face  Her  Charm 

THE  TOILET  BALM  FOR 
SUMMER  DAYS  AND  NIGHTS 

Scid  by  All  Chemists:  Is.  M.,  2s.  6d.,  3>. 
6d.,  5s.,  or  post  free  from 

MRS.  POMEROY,  Ltd.,  London 

29  Old  Bond  Street 


Fig.  1 8. —  A  rearrangement  of  the  advertise- 
ment shown  in  Fig.  i6.  A  pleasing  variety  has 
been  gained  by  making  one  group  larger  than 
the  others.     See  diagram  shown  in  Fig.  19. 


work  of  the  compositor.  This  is  the  ratio  of  three  to 
five,  and  putting  it  into  its  simplest  form  —  the  divi- 
sion of  a  space  into  two  parts  —  it  means  that  we 


[46] 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 

would  arrange  the  division  so  as  to  give  three  parts 

of  the  space  to  one  panel  and  five  parts  to  the  other. 

But  why  is  this  a  pleasing  division  ?    Why  not  some 


^1 


1 


Fig.  19. —  A  comparison  of  this  diagram 
with  Fig.  17  will  illustrate  the  value  of  variety 
in  the  sizes  of  groups  of  type. 


Other  distribution  of  the  space?  The  answer  is  found 
in  the  fact  that  where  a  space  is  divided  into  two  parts 
in  this  manner,  the  small  part  is  to  the  large  part  as 

[47] 


*■ 


INTENTIONAL     SECOND  EXPOSURE 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

While  varying  conditions  may  and  do  demand  dif- 
ferent treatments,  there  is  one  ratio  of  proportion, 
universally  recognized,  that  applies  particularly  to  the 


Nature's  Purest  Beauty  Balm 

Pomeroy  Skin  Food 

A  most  valuable  Toilet  Preparation. 
Softens  the  Skin,  expels  all  impuri< 
ties,  and  ensures  a  healthy,  natural 
complexion.  A  boon  to  those  en- 
gaged in  outdoor  sports  or  indoo- 
duties.  For  mother  and  baby  nothing 
can  take  its  place.  It  renews  the  skin 
when  chafed  at  the  seaside;  in  the 
country  it  protects  your  complexion 
from  sunburn,  prickly  heat  and  bites. 

Pomeroy  Skin  Food 

Keeps  a  Woman's  Face  Her  Charm 

THE  TOILET  BALM  FOR 
SUMMER  DAYS  AND  NIGHTS 

Sold  by  All  Chemist*:  Is.  6d.,  2».  6d.,  3*. 
6d.,  St.,  or  post  free  from 

MRS.  POMEROY,  Ltd.,  London 

29  Old  Bond  Street 


Fig.  i8. —  A  rearrangement  of  the  advertise- 
ment shown  in  Fig.  i6.  A  pleasing  variety  has 
been  gained  by  making  one  group  larger  than 
the  others.     See  diagram  shown  in  Fig.  19. 


work  of  the  compositor.  This  is  the  ratio  of  three  to 
five,  and  putting  it  into  its  simplest  form  —  the  divi- 
sion of  a  space  into  two  parts  —  it  means  that  we 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

would  arrange  the  division  so  as  to  give  three  parts 

of  the  space  to  one  panel  and  five  parts  to  the  other. 

But  why  is  this  a  pleasing  division  ?    Why  not  some 


1 


[46] 


Fig.  19. —  A  comparison  of  this  diagram 
with  Fig.  17  will  illustrate  the  value  of  variety 
in  the  sizes  of  groups  of  type. 


Other  distribution  of  the  space?  The  answer  is  found 
in  the  fact  that  where  a  space  is  divided  into  two  parts 
in  this  manner,  the  small  part  is  to  the  large  part  as 

[47] 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

the  large  part  is  to  the  whole.  Thus  an  exact  ratio  is 
established. 

And  so  we  would  have  variety  in  our  divisions  of 
an  advertisement,  for  without  variety  we  have  not 
proportion,  but  monotony.  The  advertisement  shown 
in  Fig.  1 6,  together  with  the  diagram  of  it  shown  in 
Fig.  17,  forms  a  good  illustration  of  this  point.  As 
will  be  seen,  an  imaginary  line  drawn  between  the  vari- 
ous groups  in  this  advertisement  reveals  the  fact  that 
the  space  has  been  broken  up  into  smaller  spaces  that 
are  nearly  equal  in  size;  there  is  no  variety.  In  the 
resetting,  shown  in  Fig.  18,  together  with  a  sketch  of 
it,  Fig.  19,  it  will  be  noted  that  the  bringing  into  the 
smaller  measure  of  but  one  group  of  type  has  changed 
the  whole  appearance  of  the  advertisement,  and  that 
instead  of  a  succession  of  panels  of  equal  size  we  now 
have  panels  that  are  pleasingly  related  to  each  other. 

The  question  of  proportion  may  also  be  applied  to 
the  advertisement  shown  in  Figs.  14  and  16.  When 
we  speak  of  proportion  as  the  pleasing  inequality  in 
the  parts  of  an  object,  and  state  that  equal  divisions  of 
space  should  be  avoided,  it  not  only  refers  to  the 
breaking  up  of  the  spaces  of  the  page  as  a  whole,  but 
to  the  distribution  of  white  space  throughout  the 
design.  In  this  particular  advertisement  the  lack  of 
proportion  is  shown  in  the  space  between  the  rules  and 
the  type.  The  space  between  the  type  and  inner  rules 
is  the  same  as  that  between  the  inner  rules  and  the 
outer  one.  A  feeling  for  proportion  —  for  variety  — 
would  suggest  that  one  of  these  spaces  be  larger  than 
the  other.  r  g. 


CHAPTER  IV. 


"  Love  not  too   many  faces.     Even   Solomon   failed   when    he  set   his 
mind  upon  a  plurality  of  favorites." 

ON    CHOOSING   THE   TYPE. 

^HAT  the  advertisement  depends 
largely  for  its  effectiveness  upon  the 
type  in  which  it  is  set  none  will 
question.  The  general  design  and 
the  readability  of  the  type  are  the 
things  which  attract  the  attention. 
Carefully  prepared  copy  is,  of 
course,  necessary  to  good  advertis- 
ing, but  before  one  reads  even  the  most  alluring  adver- 
tisement his  attention  must  be  attracted  to  it  in  some 
way.  This  is  accomplished  by  good  design  and  pleasing 
type-faces.  The  printer  who  can,  taking  into  consid- 
eration the  effect  of  design  and  type  upon  the  optic 
nerve,  set  advertisements  in  such  manner  that  they 
are  not  only  pleasing  to  read,  but  even  seem  to  invite  a 
reading,  is  enabled  to  produce  the  kind  of  advertising 
typography  that  really  counts,  for,  after  all  is  said  and 
done,  it  is  the  form,  or  typographical  appearance,  of 
the  advertisement,  that  first  attracts  the  eye. 

We  are  all  aware  of  the  fact  that  some  types  are 
easier  to  read  than  others  —  that  some  book-pages, 


[49] 


mvj'  I  I.J.I""  I  mill ,  "^'"•r  "#  wii  ■  nv   HPJ^'flRWP! 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 


because  of  the  type  in  which  they  are  set,  invite  a 
reading,  while  others  are  more  or  less  displeasing  — 
even  repulsive  in  appearance.  The  eye  takes  to  the 
former  readily  and  easily,  while  it  must  be  forced  to 
read  the  latter  —  and  the  desirable  thing  in  advertis- 
ing-typography is  that  in  form  and  type  the  advertise- 
ment shall  be  attractive  to  the  eye,  and  read  without 
effort. 

We  must,  then,  use  the  type  that  is  the  most  easily 
read.  This,  of  course,  is  the  roman  letter.  Centuries 
of  its  use,  together  with  the  fact  that  from  our  earliest 
associations  we  are  constantly  confronted  by  the  roman 
letter,  makes  its  reading  seem  natural.  Then,  too,  the 
fact  remains  that  despite  all  attempts,  no  one  has  as 
yet  been  enabled  to  produce  a  letter- form  which  in 
legibility  and  distribution  of  color  is  superior,  or  even 
equal,  to  the  classic  roman  letter  of  the  Renaissance. 

To  illustrate  this,  consider  for  a  moment  Figs.  20, 
21  and  22.  Fig.  20  is  set  in  ten-point  Caslon  Old-style, 
Fig.  21  in  ten-point  Caslon  Bold  and  Fig.  22  in  ten- 
point  Hearst.  Of  the  three,  the  first  one  is  the  most 
easily  read  by  the  normal  eye.  Fig.  21,  because  of  its 
general  resemblance  in  design  to  the  ordinary  roman 
letter,  perhaps  comes  next  in  legibility,  while  Fig.  22, 
departing  as  it  does  from  the  standard  roman  forms, 
is  the  least  legible  of  them  all. 

An  interesting  point  in  this  connection,  and  one 
which  proves  conclusively  the  greater  legibility  of  the 
plain  roman  type-faces,  is  the  fact  that  proofreaders, 
while  able  to  grasp  words,  and  even  groups  of  words, 

[50] 


THE  TYPOGRAPHY   OF  ADVERTISEMENTS 

in  reading  proof  on  matter  set  in  ordinary  roman  type, 
will,  in  reading  matter  set  in  display  type,  spell  out  the 
words  letter  by  letter,  their  unfamiliarity  with  the 
forms  making  them  less  sure  of  correctness  in  their 
reading. 

"  But,"  some  one  says,  *'  the  heavier  and  bolder 
type- faces  furnish  a  greater  contrast  to  the  white  of 
the  paper,  and  therefore  should  be  the  easier  to  read." 

It  is  true  that  a  greater  contrast  of  color  is  fur- 
nished in  the  use  of  the  bolder  type-faces,  but  to  force 
these  greater  contrasts  on  the  eye  is  to  literally  club 
it  into  reading  the  text,  whether  or  no.  Are  the  sales- 
man's statements  of  better  selling  value  because  they 
are  shouted  loudly  in  direct  contrast  to  the  quiet  of 
the  office?  There  may  be,  and  undoubtedly  are,  some 
on  whom  this  force  is  necessary,  but  to  those  who  are 
sufficiently  educated  and  intelligent  to  be  reached 
through  the  appeal  of  the  advertisement,  the  quiet 
dignity  of  the  salesman's  statements  made  in  well- 
modulated  tones  will  be  more  attractive. 

The  strong  contrasts  are  not  desirable  as  a  regular 
thing.  Red  and  green  form,  as  do  the  other  combina- 
tions of  complementary  colors,  violent  contrasts;  but 
a  very  little  of  these  color  combinations  is  sufficient  to 
the  average  person. 

As  we  become  educated  and  civilized  and  grow  in 
refinement  our  appreciation  of  the  more  subdued  and 
broken  colors  increases,  and  we  prefer  these  hues  to 
the  strong  raw  primary  colors  so  pleasing  to  the  sav- 
age.    And  as  our  appreciation  of  colors  grows  more 

4  [SI] 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

refined,  so  also  does  our  regard  for  the  lighter,  more 
delicate    type- faces,    and    we    no    longer    care   to    be 


It'* 
If  » 
III 

hi 


We  are  all  aware  of  the  fact  that 
some  types  are  easier  to  read  than 
others — that  some  book  pages,  be- 
cause of  the  type  in  which  they  are 
set,  invite  a  reading,  while  others 
are  more  or  less  displeasing — even 
repulsive  in  appearance.  The  eye 
takes  to  the  one  page  readdy  and 
easily,  while  it  must  be  forced  to 
read  the  other ;  and  the  desirable 
thing  in  typography  is  that  in  form 
and  type  the  advertisement  shall  be 
attractive  to  the  eye.  We  must, 
then,  use  the  type  that  is  the  most 
easily  read,  and  it  naturally  follows 
that  the  Roman  types,  either  old- 
style  or  modern,  are,  because  of 
their  constant  use,  the  most  easily 
read  by  the  average  person.  Even 
though  the  bold-face  types  be  of  the 
same  general  design  as  the  Roman 


Fig.  20. —  The  ordinary  roman  letter  is  the 
most  easily  read  by  the  normal  eye.  Compare 
with  Figs.  21  and  22. 

clubbed  into  reading  a  thing  through  the  use  of  bru- 
tally large  and  black  letters. 

[52] 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 

Our  big  advertisers  appreciate  this.     One  of  the 
most  extensively  advertised  industries  of  to-day  is  the 


We  are  all  aware  ol  the  fact 
that  some  types  are  eafiier  to 
read  than  others — that  some 
book  pages,  because  ol  the 
type  in  which  they  are  set, 
invite  a  reading,  while  others 
are  more  or  less  displeasing 
— even  repulsive  in  appear- 
ance. The  eye  takes  to  the 
one  page  readily  and  easily, 
while  it  must  be  forced  to 
read  the  other ;  and  the  de- 
sirable thing  in  typography 
is  that  in  form  and  type  the 
advertisement  shall  be  at- 
tractive to  the  eye.  We  must, 
then,  use  the  type  that  is  the 
most  easily  read,  and  it  natu- 
rally follows  that  the  Roman 
types,  either  the  old-style  or 
modern,  are,  because  of  their 


Fig.  21. —  Even  though  this  type  is  bold  and 
strong  in  tone  it  is  not  as  easily  read  as  the 
type  shown  in  Fig.  20. 

automobile  industry.    All  of  the  ability  and  skill  that 
can  be  produced  is  brought  to  bear  upon  the  construc- 

[53] 


INTENTIONAL     SECOND  EXPOSURE 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

refined,  so  also  does  our  regard  for  the  lighter,  more 
delicate    type- faces,   and    we   no    longer    care   to   be 


We  are  all  aware  of  the  fact  that 
some  types  are  easier  to  read  than 
others — that  some  book  pages,  be- 
cause of  the  type  in  which  they  are 
set,  invite  a  reading,  while  others 
are  more  or  less  displeasing — even 
repulsive  in  appearance.  The  eye 
takes  to  the  one  page  readily  and 
easily,  while  it  must  be  forced  to 
read  the  other;  and  the  desirable 
thing  in  typography  is  that  in  form 
and  type  the  advertisement  shall  be 
attractive  to  the  eye.  We  must, 
then,  use  the  type  that  is  the  most 
easily  read,  and  it  naturally  follows 
that  the  Roman  types,  either  old- 
style  or  modern,  are,  because  of 
their  constant  use,  the  most  easily 
read  by  the  average  person.  Even 
though  the  bold-face  types  be  of  the 
same  general  design  as  the  Roman 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

Our  big  advertisers  appreciate  this.     One  of  the 
most  extensively  advertised  industries  of  to-day  is  the 


Fig.  20. —  The  ordinary  reman  letter  is  the 
most  easily  read  by  the  normal  eye.  Compare 
with  Figs.  21  and  22. 

clubbed  into  reading  a  thing  through  the  use  of  bru- 
tally large  and  black  letters. 

[52] 


We  are  all  aware  of  the  fact 
that  some  types  are  ea'iier  to 
read  than  others — that  some 
book  pages,  because  of  the 
type  in  which  they  are  set, 
invite  a  reading,  while  others 
are  more  or  less  displeasing 
— even  repulsive  in  appear- 
ance. The  eye  takes  to  the 
one  page  readily  and  easily, 
while  it  must  be  forced  to 
read  the  other ;  and  the  de- 
sirable thing  in  typography 
is  that  in  form  and  type  the 
advertisement  shall  be  at- 
tractive to  the  eye.  We  must, 
then,  use  the  type  that  is  the 
most  easily  read,  and  it  natu- 
rally follows  that  the  Roman 
types,  either  the  old-style  or 
modern,  are,  because  of  their 


Fig.  21. —  Even  though  this  type  is  bold  and 
strong  in  tone  it  is  not  as  easily  read  as  the 
type  shown  in  Fig.  20. 

automobile  industry.    All  of  the  ability  and  skill  that 
can  be  produced  is  brought  to  bear  upon  the  construc- 

[53] 


THE   TYPOGRAPHY    OF   ADVERTISEMEiNTS 


tiotl  of  automobile  advertisements,  and  it  is  a  noticeable 
fact  that  in  their  typography,  and  especially  of  late. 


We  are  all  aw^are  of  the 
fact  that  some  types  are 
easier  to  read  than  others 
— that  some  book  pages, 
because  of  the  type  in 
^A^hich  they  are  set,  invite 
a  reading,  ^while  others  are 
more  or  less  displeasing — 
even  repulsive  in  appear- 
ance. The  eye  takes  to 
the  one  page  readily  and 
easily,  while  it  must  be 
forced  to  read  the  other; 
and  the  desirable  thing 
in  typography  is  that  in 
form  and  type  the  ad- 
vertisement shall  be  at- 
tractive to  the  eye.  We 
must,  then,  use  the  type 
that  is  the  most  easily 
read,  and  it  naturally 


Fig.  22. —  Another  form  of  heavy  display 
type  which  is  less  legible  than  the  ordinary 
roman  shown  in  Fig.  20. 

the  old-style  types  play  the  leading  part,  the  heavy 
job-faces  being  conspicuous  by  their  absence.    This  is 

[54I 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 


shown  in  Fig.  2^,  a  page  advertisement  from  one  of 
the  popular  magazines.    One  can  not  but  note  the  ease 


7^?  Owen 

Devoted  to  comfort  and  family  touring 

ihe  Owen  u  built  on  the  ume  general  lines  at  other  can  of  high 

class,  with,  however,  these  special  features  which  afford  a  kind 

and  degree  of  comfort  hitherto  unknown. 
Light  weight permitting  the  use  of  smooth  easy  springs  which 

convert  what  would  otherwree  be  a  disagreeable  jolt  into  a 

gentle  and  altogether  pleasing  undulation. 
Large    wheels"  (4:    inches   diameter)    which   pass    over    ruts    and 

depressions  as  if  the  road  were  entirely  smooth 
Long-Stroke   motor  (6  inches).     This  works  slowly  and  witk 

the  mininnum  of  vibration 

Left-hand  drive  (with  smgle-lever  control  at  nght  in  the  middle) 

which  gives  the  driver  easy  control  of  the  car. 
The    Owen    »    very  economical    to    operate        The   Urge  wheels 

rtduce  tire-expense ;   and  the  avenge  gasoline  consumption 

is  less  than  one  gallon  to  fifteen  miles. 

$3iOO      Send  for  catalogue 

R  M  Owen  &  Co    Lansiikg  Mich  "I^jS-Sr'  Reo  Motor  Car  Co 


t"iG.  23. —  A  page  that  is  legible  and  pleasing 
to  the  eye,  showing  that  "  display  "  type  is  nol 
necessary  to  good  advertising. 

with  which  a  page  of  this  kind  is  read,  and  the  absence 
of  the  "  screaming  "  heavy-faced  letters. 

A  comparison  of  Figs.  24  and  25  will  still  better 
illustrate  this  point.     In  the  former,  we  have  large, 

rssi 


INTENTIONAL     SECOND  EXPOSURE 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 


tiori  of  automobile  advertisements,  and  it  is  a  noticeable 
fact  that  in  their  typography,  and  especially  of  late. 


We  are  all  aw^are  of  the 
fact  that  some  types  are 
easier  to  read  than  others 
— that  some  book  pages, 
because  of  the  type  in 
-which  they  are  set,  invite 
a  reading, -while  others  are 
more  or  less  displeasing — 
even  repulsive  in  appear- 
ance. The  eye  takes  to 
the  one  page  readily  and 
easily,  -while  it  must  be 
forced  to  read  the  other ; 
and  the  desirable  thing 
in  typography  is  that  in 
form  and  type  the  ad- 
vertisement shall  be  at- 
tractive to  the  eye.  We 
must,  then,  use  the  type 
that  is  the  most  easily 
read,  and  it  naturally 


Fig.  22. —  Another  form  of  heavy  display 
type  which  is  less  legible  than  the  ordinary 
roman  shown  in  Fig.  20. 

the  old-style  types  play  the  leading  part,  the  heavy 
job-faces  being  conspicuous  by  their  absence.    This  is 

[54] 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 


shown  in  Fig.  22,,  a  page  advertisement  from  one  of 
the  popular  magazines.    One  can  not  but  note  the  ease 


T^eOWEN 

Devoted  to  comfort  and  family  touring 

The  Owen  is  built  on  the  same  general  hnei  as  other  cars  of  high 

class,  with,. however,  these  special  features  which  a/Tord  a  kind 

and  degree  of  comfort  hitherto  unknown. 
Light  weight permitting  the  use  of  smooth  easy  springs  which 

convert  what  would  otherwise  be  a  disagreeable  jolt  into  a 

gentle  and  altogether  pleasing  undulation. 
Large    wheels'  (4;    inches   diameter)   which  pass    over    ruts    and 

depressions  as  if  the  road  were  entirely  smooth 
Long-Stroke   motor  (6  inches).     This  works  slowly  and  with 

the  minimum  of  vibration 
Left-hand  drive  (with  single-lever  control  at  right  in  the  middle) 

whKh  gives  the  driver  easy  control  of  the  car. 
The    Owen    »    very   economical    to   operate        The  large  wheels 

reduce  tire-expense  ;    and  the  average  gasoline  consumption 

is  less  than  one  gatjon  to  fifteen  miles. 

fjlOO      Send  for  catalogue 
R  M  Owen  «c  Co    Lansing  Mich  '^■™„^'  Rco  Motor  Car  Co 


1 1 


Fig.  22. —  A  page  that  is  legible  and  pleasing 
to  the  eye,  showing  that  "  display  "  type  is  not 
necessary  to  good  advertising. 

with  which  a  page  of  this  kind  is  read,  and  the  absence 
of  the  "  screaming  "  heavy-faced  letters. 

A  comparison  of  Figs.  24  and  25  will  still  better 
illustrate  this  point.     In  the  former,  we  have  large, 

[55] 


s 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 

black  letters  of  various  designs,  even  the  text  matter 
being  set  in  a  display  letter.  The  whole  advertisement 
is  confusing  and  forbidding,  and  offers  nothing  pleas- 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 

shown  in  Fig.  24  is  handicapped  by  an  illustration  of 
unusual  shape,  but  that  this  is  not  responsible  for  the 
objectionable  features  noted  is  shown  in  the  fact  that 


Hi 


Start  Your  Motoring  Season  Right!! 

Enjoy  your  cat  to  the  utmoat  lhi»  iprtng  mad  •ummer.     Protect 
youTMlf  *i  aJuance  aguiut    the  dangers   of   •kidding,  and  dl* 
annoyances  of  tire-changing  by  the  old  Uborioui  way 
Don't  ttop  thoit  of  tht  ttal  for  your  own  car— equip  it  ngfcl 
BOW  with  the  prefened  equipment  o*  Amerk»'»  be»t  can: 

Tirestono 

NON-SKID  =       Quick-Detachable 

TIRES    ^  DEMOUNTABLE  ROMS 


FRESTONE  NON-SKIDS  ENSURE 
SAFETY  on    tlippery    Kreeta. 
The  maaa  of  anglea,  edge*,  hol- 
lows and   sidea  hold  your  car 
safe  at  no  other  tire  can. 

Tougher  rubber  sikI  mora  o{ 
■1  than  on  the  (read  of  any  otho 
0«— more  mile*  o(  vrear— no 
mMal  •»<]•  to   deXTinr  the 
rubber —abtolute    •■rely 
from  ibd  accKlenL  All  for 
only    about    67c    hicbac 
prica  than  tb'  ;|atular 
Firaalona  bie. 

After   the  non-aUd 
lattannt     i»    wora 
down    you    have   a 
anootb    tread    Mt 
for  fummar  uaa. 

Can  you  •^"J  the 
nak  of  not  uana 
f iraatona  Non-SkUW 


Qiiiek  DetachiUa 

RiBI     CMIT 

)ra«  apdc  sni  inblad, 
naAr  la  aibaiMf  id  and 
■I  far  mimti  Imtt  wahou 
hm  al  IJBai  bud  waA  ot 
par  ■  HV.  ^ 

rii    ^  ^  m,  Ihm  k  ml  »m. 

Tba  ritauaa  Ria  ii  d» 
■(Md  aad  auda  by  aa 
mtam—it  hta  aa  ipil  baia 
la  a^at  ■iiiiaai  and  nai 

la««  aa  wd   aa  yosr  lina 

and  cf  oit  is  duB^tf  tKm. 

Ctato  naX  mm  aaS  Wmum 
MMkwM*. 


IHE  FIRESTONE  TBE  A 
RUBBER  CO,  AkrM,  0 


Fig.  24.— Here  the  use  of  "display"  let- 
ters results  in  a  page  that  is  confusing  to  the 
eye  and  hard  to  read.     Compare  with  Fig.  25- 

ing  to  attract  the  eye.  In  Fig.  25,  the  use  of  the  plain 
roman  types  gives  a  page  that  is  easily  read,  and  does 
not  offend  by  its  heavy  color.    True,  the  advertisement 

[56I 


AMERICAN  BANK  NOTE 

PLAYING    CARDS 

When  you  call  for  playing  cards,  just  ask  them  to  bnng  you 
the  lund  with  the  Bank  Note  backs*     It  is  a  sure  way  to 
get  the  full  measure  of  satisfaction  from  your  play. 


It  mam  you  will  have  American  Bank 
Nmc  ptayinc  cardi,  the  ncwnt,  prettiest, 
moat  perfect  card*  yet  produced. 

Your  pleasure  in  their  uac  comes  from  their 
Jijtpi  and  ^Muk  at  well  as  their  wonderful 
durability.  Your  confidence  in  them  retu 
on  the  reputation  of  the  American  Bank  Note 
Company,  whose  erfravinf  and  priatinp  it  tke 
standard  of  eaccUenca  aJl  over  the  world. 

The  hacks  of  these  cards  are  made  from 
steel  enf^raved  detif^nt,  similar  to  those  which 
the  American  Bank  Note  Compiny  uses  in 
printing  issues  of  bonds,  Btock  ccrtificatn  and 
other  aecuritica. 


Tbey  arc  the  heti  playing;  cards  yet  pro- 
duced to  sell  at  tS  cents  a  pack.  Made  in 
regular  and  fabric  finish}  standard  and  narrow 
siics;  also  many  new  designs  in  fncture  hacks 
with  gold  edges,  which  cell  al  M  ctms  a  pack. 

Let  your  dealer  show  you  these  pUying 
cards  and  you  wiU  sec  why  they  are  superior 
to  any  other  pUying  cards  yet  made.  Buy  a 
pack  today  while  you  are  thinking  of  it.  If 
be  has  not  yet  placed  them  in  stock,  send  us 
25  cenu  in  stamps  for  ample  pack,  or  59 
cents  if  you  want  one  with  picture  back. 
Say  which  kind  you  want,  and  write  ymu 
name  and  address  (dainly.     Address 


AMERICAN  BANK  NOTE  COMPANY 
70  BROAD  STREET,  NEW  YORK 


Fig.  25. —  A  pleasing  advertisement  that  is 
easily  read.  One  does  not  feel  the  need  for 
other  type-faces  in  order  to  get  a  proper  dis- 
play.    Compare  with  Fig.  24. 

they  are  most  apparent  at  the  top  of  the  advertisement 
where  the  shape  of  the  cut  is  of  no  influence. 

[57] 


\ 


INTENTIONAL     SECOND  EXPOSURE 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 

black  letters  of  various  designs,  even  the  text  matter 
being  set  in  a  display  letter.  The  whole  advertisement 
is  confusing  and  forbidding,  and  offers  nothing  pleas- 


Start  Your  Motoring  Season  Right!! 

Enjoy  your  cu  to  the  ubnoat  thi»  tphng  omI  iummer.    Protect 
ymndl  in  aJaance  aguiut    the  danger*   of   tkiiUing,  uul  th* 
■nnoyuices  ol  tire-cKanging  by  the  old  Uboriou*  way 
Dont  top  »hott  of  dte  kal  for  your  own  car— emiip  it  (i^ 
now  with  the  preferred  equipment  of  America'*  best  cmn: 

Tircstonc 

NON-SKID  =       Quick-Detachable 

TIRES    ^  IffiMOUNTABLE  RMS 

FRESTONE  NON-SKIDS  ENSURE 
SAFETY   on    •lippery    Kreeta, 
The  ma**  of  angte*.  edge*,  hol- 
low* and  udes  hold  your 
•afe  at  no  other  tire  can. 


Tougher  rubber  and  more  of 
it  than  on  the  tread  ot  any  other 
lire— more  mile*  oi  wear — no 
metal  Muds  to  deatroy  the 
rvbbar— abtolute    iafety 
from  ikid  accident  All  ior 
only    about    6%     higher 

foce  than   tl>»  ^ul»r 
irestona  bie. 
After  the  run-aUd 
lettering     ia    worn 
down    you    have  a 
•mooth   tread    left 
for  tummet  uae. 


Fig  24._  Here  the  use  of  "  display  "  let- 
ters results  in  a  page  that  is  confusing  to  the 
eye  and  hard  to  read.     Compare  with  Fig.  25. 

ing  to  attract  the  eye.  In  Fig.  25,  the  use  of  the  plain 
roman  types  gives  a  page  that  is  easily  read,  and  does 
not  offend  by  its  heavy  color.    True,  the  advertisement 

[56] 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 

shown  in  Fig.  24  is  handicapped  by  an  illustration  of 
unusual  shape,  but  that  this  is  not  responsible  for  the 
objectionable  features  noted  is  shown  in  the  fact  that 


AMERICAN  BANK  NOTE 

PLAYING    CARDS 

When  you  call  for  playing  cards,  just  ask  them  to  bnng  you 
the  kind  with  the  Bank  Note  backs.     It  is  a  sure  way  to 
get  the  full  ineasure  of  satisfaction  from  your  play. 


It  mcutt  ywi  will  ttive  Americut  Bank 
Note  pUyiog  ordi,  the  orweit,  prettiest, 
moM  perfect  cvdi  yet  produced. 

Vour  pleuurc  tn  their  use  cornea  from  their 
dfirgv  tnij  /tnu*  M  well  aa  their  wonderful 
durabtliiy.  Your  confidence  in  them  rctu 
on  the  reputation  of  the  American  Bank  Note 
Company,  whoM  crgnrinc  and  printing  it  the 
ttandard  (rf  exceUencc  all  over  the  world. 

The  back.1  of  iScu  otrdi  are  made  from 
tteel  cngMvcd  deiifirni,  limilar  to  those  which 
the  American  Bank  Note  Company  u>ei  in 
pHminf  ieniei  of  bondt|  nock  cenificuei  and 
other  tecuniics. 


They  arc  the  heat  playinc  carda  yet  ffo- 
duced  to  aell  at  SI  ceati  a  pack.  Made  in 
regular  and  fabric  finish ;  ttandard  and  narrow 
fiirt;  also  many  new  deugni  in  picture  back* 
with  giM  edgei,  which  sell  at  M  cenu  a  pack. 

Let  your  dealer  thow  you  tbeac  pUyiN( 
cards  and  you  will  sec  why  they  arc  auperior 
to  any  other  playing  cards  yet  made  Buy  a 
pack  today  while  you  are  thinking  of  it.  If 
he  has  not  yet  placed  them  in  stock,  aeod  us 
25  cents  in  stamps  for  mmple  pack,  or  SO 
cents  if  yo-j  want  one  with  picture  back. 
Say  which  kind  you  want,  and  write  your 
same  and  addrcn  plainty.     Addrtu 


AMERICAN  BANK  NOTE  COMPANY 

70  BROAD  STREET,  NEW  YORK 


Fig.  25. —  A  pleasing  advertisement  that  is 
easily  read.  One  does  not  feel  the  need  for 
other  type-faces  in  order  to  get  a  proper  dis- 
play.    Compare  with  Fig.  24. 

they  are  most  apparent  at  the  top  of  the  advertisement 
where  the  shape  of  the  cut  is  of  no  influence. 

[57] 


k 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

Another  point  of  interest  to  the  compositor  is  the 
manner  in  which  the  small  type  in  Fig.  25  has  been  set 
in  two  columns,  rather  than  in  long  lines  across  the 
page.     This  is  desirable  where  ordinary  body-type  is 


TAILOR-MADE 
CLOTHING 

EQUAL  TO  THE  VERY 

BEST  IN  STYLE 

FIT    AND 

FINISH 

SURE  TRADE  MAKERS 

SNAPPY  STYLES  IN  SUITS  AND  OVERCOATS 
FOR  FALL  AND  WINTER,  1909 

READY  FOR  YOUR  INSPECTION 

A.  DINKELSPEIL   CO. 

COR.  N.  ST.  PAUL  AND  ANDREWS  STS 

ROCHESTER,  N.  Y. 


MBV    TORK    SALEStOOM 


•2 1 -Ma    ••OAOVAT 


Fig.  26. —  The  use  of  all  capitals  has  resulted  in  an  advertisement 
which  must  be  studied  out  rather  than  read  at  a  glance. 

used,  as  scientists  tell  us  that  the  eye  does  not  readily 
take  in  a  line  that  is  more  than  approximately  three 
and  one-half  inches  in  length. 

We  come,  then,  to  the  position  that  the  roman  types, 
because  of  their  admitted  excellence  of  design,  as  well 
as  their  constant  use  in  other  fields,  are  the  easiest  read 
by  the  normal  eye. 

Of  the  roman  type- faces,  we  have  the  old-style  and 
the  modern.     As  to  the  relative  legibility  of  the  two 

[58] 


,H 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 


there  is  something  to  be  said  on  both  sides,  but,  gen- 
erally speaking,  they  are  equally  good.  The  old-style 
letter,  especially  the  Caslon,  is  at  its  best  on  antique 


TPHE  way  you  look, 

-■-    and,  still  more,  the  way 

you  feel,  depends  on  the  shoes  you 

wear. 

In  our  Selz  Royal  Blue  shoes  you  get 
looks  and  comfort;  and  more  of  both  for 
the  money  than  in  any  other  shoes  sold. 

Selz  shoes  $3  to  $6. 

Leon's 

Selz  Royal  Blue  Stores 

Northwest  corner  Clark  aad  Madis(»i 
51  W.  Madison  106  S.  Clark  4  S.  Dteirbom 
southeast   comer  Dearborn  uid  Van  Buren 


Fig.  27. —  An  advertisement  set  in  all  lower-case  is  read  without  effort. 

papers,  the  coated  papers  lending  themselves  better  to 
the  use  of  the  modern  type-faces.  The  fact,  however, 
that  some  modern  type-faces  contain  characteristics 
peculiar  to  the  old-style,  and  vice  versa,  to  such  a 
degree  that  even  some  printers  are  confused  as  to  their 
classification,  indicates  that  the  choice  between  them 
is  largely  a  matter  of  personal  opinion. 

In  the  interest  of  good  printing  we  must  sincerely 
hope  for  the  speedy  coming  of  the  day  when  most  of 

[59] 


INTENTIONAL     SECOND  EXPOSURE 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

Another  point  of  interest  to  the  compositor  is  the 
manner  in  which  the  small  type  in  Fig.  25  has  been  set 
in  two  columns,  rather  than  in  long  lines  across  the 
page.     This  is  desirable  where  ordinary  body-type  is 


TAILOR-MADE 
CLOTHING 

EQUAL  TO  THE  VERY 

BEST  IN  STYLE 

FIT    AND 

FINISH 

SURE  TRADE  MAKERS 

SNAPPY  STYLES  IN  SUITS  AND  OVERCOATS 
FOR  FALL  AND  WINTER,  1909 

READY  FOR  YOUR  INSPECTION 

A.  DINKELSPEIL   CO. 

COR.  N.  ST.  PAUL  AND  ANDREWS  STS 

ROCHESTER,  N.  Y. 


NEV   TORK   SALESROOM 


a2l-<2J    BROADVAT 


Fig.  26. —  The  use  of  all  capitals  has  resulted  in  an  advertisement 
which  must  be  studied  out  rather  than  read  at  a  glance. 

used,  as  scientists  tell  us  that  the  eye  does  not  readily 
take  in  a  line  that  is  more  than  approximately  three 
and  one-half  inches  in  length. 

We  come,  then,  to  the  position  that  the  roman  types, 
because  of  their  admitted  excellence  of  design,  as  well 
as  their  constant  use  in  other  fields,  are  the  easiest  read 
by  the  normal  eye. 

Of  the  roman  type- faces,  we  have  the  old-style  and 
the  modern.     As  to  the  relative  legibility  of  the  two 

[58] 


y 


\ 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

there  is  something  to  be  said  on  both  sides,  but,  gen- 
erally speaking,  they  are  equally  good.  The  old-style 
letter,  especially  the  Caslon,  is  at  its  best  on  antique 


TTHE  way  you  look, 

-*-    and,  still  more,  the  way 

you  feel,  depends  on  the  shoes  you 

wear. 

In  our  Selz  Royal  Blue  shoes  you  get 
looks  and  comfort;  and  more  of  both  for 
the  money  than  in  any  other  shoes  sold. 

Selz  shoes  $3  to  $6. 

Leon's 

Selz  Royal  Blue  Stores 

Northwest  corner  Clark  and  Madison 
51  W.  Madison  106  S.  Clark  4  S.  Dearborn 
Southeast   comer  Dearborn  md  Van  Buren 


Fig.  27. —  An  advertisement  set  in  all  lower-case  is  read  without  eflfort. 

papers,  the  coated  papers  lending  themselves  better  to 
the  use  of  the  modern  type-faces.  The  fact,  however, 
that  some  modern  type-faces  contain  characteristics 
peculiar  to  the  old-style,  and  vice  versa,  to  such  a 
degree  that  even  some  printers  are  confused  as  to  their 
classification,  indicates  that  the  choice  between  them 
is  largely  a  matter  of  personal  opinion. 

In  the  interest  of  good  printing  we  must  sincerely 
hope  for  the  speedy  coming  of  the  day  when  most  of 

[59] 


J 


\ 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

the  bold-faced  roman  types  will  be  eliminated  from  our 
magazine  pages.  We  have  no  particular  fault  to  find 
with  heavy  job-faces.  They  are  essential  to  posters, 
window-cards,  etc. —  which  are  to  be  read  at  a  distance 
—  but  in  the  pages  of  a  magazine,  to  be  read  at  close 
range,  they  are,  to  say  the  least,  offensive. 

This,  of  course,  does  not  apply  to  the  heavy-faced 
types  in  the  smaller  sizes.  In  small  advertisements 
which  contain  a  large  amount  of  matter,  and  in  which 
the  largest  type-face  that  can  be  used  is  in  the  neigh- 
borhood of  twelve  or  fourteen  point,  it  is,  of  course, 
necessary  to  resort  to  the  bold-faced  letters  in  order  to 
gain  the  desired  prominence. 

*'  But,"  asks  some  one,  "  how  are  we  to  secure  a 
proper  display  for  some  lines  if  we  don't  use  heavy 
type-faces  ?  "  In  nearly  every  case  this  can  be  accom- 
plished by  a  variety  in  the  sizes  used  for  the  different 
parts  of  the  advertisements,  although  slightly  heavier 
faces  are  sometimes  desirable.  Display  is  a  relative 
proposition,  and  of  course  if  the  text  matter  of  an 
advertisement  is  set  in  bold-faced  type,  the  bringing 
out  or  emphasizing  of  certain  lines  will  necessitate  the 
use  of  still  bolder  and  larger  faces.  In  a  consideration 
of  Fig.  25,  though,  one  does  not  feel  the  need  of  a 
heavier  type-face  for  the  display  —  the  larger  sizes  of 
the  roman  capitals  being  sufficient  for  all  the  necessary 
prominence. 

Generally  speaking,  lower-case  should  be  used  in 
advertisement  composition,  rather  than  capitals.  A 
dignified    formal    announcement    may    be    effectively 

[60] 


THE  TYPOGRAPHY   OF   ADVERTISEMENTS 

typed  in  roman  capitals  —  but  the  advertisement,  which 
should  be  set  in  a  letter  that  will  easily  lead  the  eye 
from  one  line  to  the  other  without  effort,  is  at  its  best 
in  the  lower-case.  Compare,  for  illustration,  the  adver- 
tisements shown  in  Figs.  26  and  t.'j.  In  the  former 
the  use  of  all  capitals  has  resulted  in  an  advertisement 
which  must  be  studied  out  rather  than  read  at  a  glance, 
while  in  the  latter  the  lower-case  is  read  without 
effort.  Even  this  legibility  would  be  a  trifle  enhanced 
by  a  slight  spacing  between  lines. 

Display  lines  set  in  lower-case  are  to  be  preferred 
to  those  set  in  capitals  for  the  same  reason  that  plain 
roman  type  is  preferable  to  other  faces  —  they  are 
more  easily  read  by  the  average  person.  And  an 
advertisement  set  all  in  lower-case  preserves  a  har- 
mony of  shape  not  found  in  the  advertisement  in 
which  lines  of  capitals  are  used.  In  the  consideration 
of  this  point,  however,  one  must  not  overlook  the 
design  as  a  whole,  and  where  the  general  appearance 
of  the  advertisement  can  be  improved  by  the  addition 
of  a  line  of  capitals,  it  would  be  useless  to  argue  for 
its  omission  in  order  to  procure  a  complete  harmony 

of  shape. 

Shall  the  gothic  letter  (called  in  the  printing-office 
text)  be  used  in  the  composition  of  advertisements? 
This  is  a  question  which  is  frequently  asked,  and  one 
which  has  brought  out  much  difference  of  opinion. 
While  of  course  the  gothic  letter  is  not  nearly  as  read- 
able as  is  the  roman  form,  and  its  use  in  quantities 
such  as  a  full  page  or  even  a  large  group  of  lines 

[61] 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 

would  result  in  an  illegibility  detrimental  to  the  best 
advertising  results,  the  setting  of  a  line  or  two  in  this 
form  of  letter  is  at  times  not  only  permissible,  but 
even  desirable,  the  decorative  effect  gained  by  its  use 
being  a  pleasing  variation  from  the  plainer  roman. 

We  note  with  much  satisfaction  the  passing  of  the 
lining  gothics  from  our  advertising  pages.  While  these 
letter-forms  are,  without  question,  easily  read  and 
desirable  at  times  in  the  smaller  sizes,  we  can  not  but 
feel  that  in  the  larger  sizes  they  are  crude  and  without 
beauty. 

A  summing  up  of  the  foregoing,  then,  brings  us  to 
these  conclusions : 

That  the  roman  type,  either  modern  or  old-style, 
is  the  easiest  for  the  normal  eye  to  read,  because  this 
is  the  letter- form  with  which  the  eye  is  the  most 
familiar. 

That  the  heavier  roman  faces,  although  not  more 
readable  than  the  lighter  types,  are  offensive  to  the 
eye  because  of  their  strong  color. 

That  proper  display  ordinarily  can  be  gained  by 
variation  in  the  sizes  of  the  same  series. 

That  an  advertisement  set  in  all  lower-case  is  more 
easily  read  than  one  set  in  all  capitals. 

That  display  lines  which  are  set  in  lower-case  are 
more  easily  read  than  those  which  are  set  in  capitals. 

That  a  complete  harmony  of  shapes  is  attained 
where  an  advertisement  is  set  in  all  lower-case  of  one 
series. 


[62] 


CHAPTER  V. 

In  framing  a  picture  we  do  not  select  a  frame  which  is  so  flashy  or 
attractive  that  on  looking  at  it  one  exclaims:  "  What  a  handsome 
frame!  "  and  forgets  all  about  the  picture  itself.  Neither  should  the 
printer,  in  setting  an  advertisement,  use  a  border  which  will  attract 
attention  to  itself  rather  than  to  the  text. 

ON    THE    USE   OF   BORDERS. 

T  is  hardly  necessary  in  these  days 
to  advance  arguments  in  favor  of 
the  use  of  borders  in  advertisement 
composition.  Nearly  every  person 
concedes  that  their  use  is  advisable 
— almost  necessary.  This  being  the 
case,  our  consideration  is  how  we 
can  use  the  borders  to  the  best 
advantage  and  with  the  best  results. 

Primarily,  the  border  serves  to  "  hold  the  adver- 
tisement together"  —  to  define  its  limits.  It  also 
serves  to  set  it  apart  from  the  other  advertisements 
on  the  same  page. 

This  problem  of  holding  the  advertisement  together 
is  an  important  one.  No  one  questions  the  fact  that  a 
frame  around  a  picture,  setting  it  apart  from  the  back- 
ground against  which  it  is  hung,  improves  its  appear- 
ance. Neither  does  any  one  question  the  fact  that  the 
compositor,  in  setting  an  advertisement,  is,  in  a  meas- 

[63] 


h 


% 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 

ure  at  least,  composing  a  picture.  He  is  grouping 
certain  masses  within  a  definite  space,  and  the  laws  of 
composition  which  govern  the  painting  of  the  picture 

THE  PRINCIPLES 
OF  DESIGN 

THIS  BOOK  since  its  publication  has  received 
the  unreserved  commendation  of  teachers  and 
students.  It  treats  with  directness  and  in  a 
most  simple  manner  of  the  subject  to  which  all  those 
interested  in  Art  Education  are  giving  most  careful 
thought.  The  book  contains  over  one  hundred 
unique  and  valuable  illustrations.  We  suggest  an 
early  order  for  your  library,  as  the  edition  is  limited. 

PRICE  $3.00 

THE  INLAND  PRINTER  CO. 

Chicago  and  •New  York. 


7%^ HUMAN  FIGURE 

By  JOHN  H.  VANDERPOEL 

ILMr.  Vanderpoel's  new  book  is  a  full  and 
concise  exposition  of  his  system.  The  text 
is  a  thorough  analysis  of  the  hunuin  figure 
from  the  artist's  standpoint,  feature  by  feature 
and  as  a  "whole.  It  is  illustrated  with  54  full- 
page  plates,  variously  reproduced  in  half- 
tone, metzograph  and  tint  —  all  of  them 
masterly  drawings  of  the  greatest  value  to  the 
student.  In  addition  to  these  it  contains  330 
marginal  sketches.  Price  $2.00 

THE  INLAND  PRINTER  CO. 

CHICAGO    ::    NEW  YORK 

Fig.  28. —  Owing  to  the  large,  various-sized 
areas  of  white  space  in  these  advertisements, 
they  do  not  seem  to  "  hold  together  "  properly 
without  borders. 

[64] 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 

also  govern  the  placing  of  these  masses  in  what  might 
well  be  termed  a  typographical  picture.  It  readily  fol- 
lows, then,  that  to  have  the  space  within  which  he  is 
working  clearly  defined  by  a  border  is  advantageous  to 


THE  PRINCIPLES 
OF  DESIGN 

THIS  BOOK  since  its  publication  has  received 
the  unreserved  commendation  of  teachers  and 
students.     It  treats  with  directness  and  in  a 
most  simple  manner  of  the  subject  to  which  all  those 
interested  in  Art  Education  are  giving  most  careful 
thought.     The   book  contains  over  one  hundred 
unique  and  valuable  illustrations.     We  suggest  an 
early  order  for  your  library,  as  the  edition  is  limited. 
PRICE  $3.00 
THE  INLAND  PRINTER  CO. 

Chicago  and  New  York 


r^e  HUMAN  FIGURE 

By  JOHN  H.  VANDERPOEL 

CLMr.  Vanderpoel's  new  book  is  a  full  and 
concise  exposition  of  his  system.  The  text 
is  a  thoroufrh  analysis  of  the  human  figure 
from  the  artist's  standpoint,  feature  by  feature 
and  as  a  whole.  It  is  illustrated  with  54  full- 
page  plates,  variously  reproduced  in  half- 
tone, metzograph  and  tint  —  all  of  them 
masterly  drawings  of  the  greatest  value  to  the 
student.  In  addition  to  these  it  contains  330 
marginal  sketches.  Prict  Si.oo 

THE  INLAND  PRINTER  CO. 


CHICAGO 


NEW  YORK 


Fig.  29. —  The  defining  of  the  size  and  shape 
of  the  advertisements  by  borders  is  desirable. 
Compare  with  Fig.  28. 

[65] 


1 


INTENTIONAL     SECOND  EXPOSURE 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 

ure  at  least,  composing  a  picture.  He  is  grouping 
certain  masses  within  a  definite  space,  and  the  laws  of 
composition  which  govern  the  painting  of  the  picture 

THE  PRINCIPLES 
OF  DESIGN 

THIS  BOOK  since  its  publication  has  received 
the  unreserved  commendation  of  teachers  and 
students.  It  treats  with  directness  and  in  a 
most  simple  manner  of  the  subject  to  which  all  those 
interested  in  Art  Education  are  giving  most  careful 
thought.  The  book  contains  over  one  hundred 
unique  and  valuable  illustrations.  We  suggest  an 
early  order  for  your  library,  as  the  edition  is  limited. 

PRICE  $3.00 
THE  INLAND  PRINTER  CO. 

Chicago  and  •New  York. 


21^^  HUMAN  FIGURE 

By  JOHN  H.  VANDERPOEL 

CMr.  Vanderpoel's  new  book  is  a  full  and 
concise  exposition  of  his  system.  The  text 
is  a  thorough  analysis  of  the  hun\an  figure 
from  the  artist's  standpoint,  feature  by  feature 
and  as  a  whole.  It  is  illustrated  with  54  full- 
page  plates,  variously  reproduced  in  half- 
tone, mctzograph  and  tint  —  alf  of  them 
masterly  drawings  of  the  greatest  value  to  the 
student.  In  addition  to  these  it  contains  330 
marginal  sketches.  Prite  $2.00 

THE  INLAND  PRINTER  CO. 

CHICAGO    ::    NEW  YORK 


Fig.  28. —  Owing  to  the  large,  various-sized 
areas  of  white  space  in  these  advertisements, 
they  do  not  seem  to  "  hold  together  "  properly 
without  borders. 


[64] 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 


also  govern  the  placing  of  these  masses  in  what  might 
well  be  termed  a  typographical  picture.  It  readily  fol- 
lows, then,  that  to  have  the  space  within  which  he  is 
working  clearly  defined  by  a  border  is  advantageous  to 


THE  PRINCIPLES 
OF  DESIGN 

THIS  BOOK  since  its  publication  has  received 
the  unreserved  commendation  of  teachers  and 
students.  It  treats  with  directness  and  in  a 
most  simple  manner  of  the  subject  to  which  all  those 
interested  in  Art  Education  are  giving  most  careful 
thought.  The  book  contains  over  one  hundred 
unique  and  valuable  illustrations.  We  suggest  an 
early  order  for  your  library,  as  the  edition  is  limited. 
PRICE  $3.00 

THE  INLAND  PRINTER  CO. 

Chicago  and  New  York 


ne HUMAN  FIGURE 

By  JOHN  H.  VANDERPOEL 

Q.Mr.  Vanderpoel's  new  book  is  a  full  and 
concise  exposition  of  his  system.  The  text 
is  a  thorough  analysis  of  the  human  figure 
from  the  artist's  standpoint,  feature  by  feature 
and  as  a  whole.  It  is  illustrated  with  54  full- 
page  plates,  variously  reproduced  in  half- 
tone, metzograph  and  tint  —  all  of  them 
masterly  drawings  of  the  greatest  value  to  the 
student.  In  addition  to  these  it  contains  330 
marginal  sketches.  Price  $2.oo 

THE  INLAND  PRINTER  CO. 

CHICAGO   ::    NEW  YORK 


Fig.  29. —  The  defining  of  the  size  and  shape 
of  the  advertisements  by  borders  is  desirable. 
Compare  with  Fig.  28. 

[65] 


THE   TYl'OGRAPHV   OF   .ADVERTISEMENTS 

the  compositor.    One  might  contend  that  the  edges  of 
the  paper  constituted  the  border,  but  when  we  con- 


Latest  Fashions 


Every  new  fashion  of  Paris,  every  new 
model  the  New  York  modistes  create, 
is  immediately  duplicated  by  our  artists 
and  exactly  reproduced  at  great  saving. 

Many  Classy  Spring  Suits 
and  Beautiful  Coats 

in  the  loveliest  styles,  are  here  for  your 
choosing,  the  like  of  which  no  other 
store  in  this  city  can  show,  and  at  prices 
remarkably  low. 

The  woman  of  keen  artistic  sense 
can  revel  in  exclusive,  distinctive  models 
and  select  that  which  \vill  best  suit  her 
individual  need. 

If  Unable  It  Attend  TAu,  Sale  Write  $r 
telephone 

WALTON  ^  STEVENSON 

39;  William  Tell  Street,  Chicago 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

another  space.    This,  of  course,  applies  particularly  to 
those    advertisements    which    contain    a    considerable 


Fig.  30. —  In  this  advertisement  the  border 
harmonizes  in  tone  with  the  type  —  it  is  neither 
too  heavy  nor  too  light. 

sider  that  the  margins  of  white  space  around  the  adver- 
tisement are  nearly  always  unequal  we  readily  see  that 
this  does  not  suffice  —  it  is  arranging  a  composition 
for  a  space  one  size  and  shape  and  then  using  it  in 

[66] 


Every  new  fashion  of  Paris,  every  new 
model  the  New  York  modistes  create, 
is  immediately  duplicated  by  our  artists 
and  exactly  reproduced  at  great  saving. 

Many  Classy  Spring  Suits 
and  Beautiful  Coats 

in  the  loveliest  styles,  are  here  for  your 
choosing,  the  like  of  which  no  other 
store  in  this  city  can  show,  and  at  prices 
remarkably  low. 

The  woman  of  keen  artistic  sense 
can  revel  in  exclusive,  distinctive  models 
and  select  that  which  will  best  suit  her 
individual  need. 

//  UnabU  to  Atitnd  Tfiii  Sale  Write  »r 
Telephone 

WALTON  ^  STEVENSON 

397  William  Tell  Street,  Chicago 


Fig.  31. —  The  heavy  black  border  detracts  from 
the  readability  of  the  text. 

amount  of  white  space ;  the  solid  advertisements  indi- 
cate their  size  and  shape  more  plainly. 

As  an  illustration  of  this  point  consider  Figs.  28 
and  29.    In  the  former,  the  fairly  large  areas  of  white 

5  [67] 


' 


INTENTIONAL     SECOND  EXPOSURE 


THE   TYPOGRAPHY    OF    .VDVERTISEMENTS 

the  compositor.    One  might  contend  that  the  edges  of 
the  paper  constituted  the  border,  but  when  we  con- 


Latest  Fashions 


Every  new  fashion  of  Paris,  every  new 
model  the  New  York  modistes  create, 
is  immediately  duplicated  by  our  artists 
and  exactly  reproduced  at  great  saving. 

Many  Classy  Spring  Suits 
and  Beautiful  Coats 

in  the  loveliest  styles,  are  here  for  your 
choosing,  the  like  of  which  no  other 
store  in  this  city  can  show,  and  at  prices 
remarkably  low. 

The  woman  of  keen  artistic  sense 
can  revel  in  exclusive,  distinctive  models 
and  select  that  which  ivtll  best  suit  her 
individual  need. 

//  Unabtt  It  Attend  Tfih,  Sale  Write  tr 
Yelephtne 

WALTON  ©•  STEVENSON 

397  William  Tell  Street,  Chicago 


19 


Fig.  30. —  In  this  advertisement  the  border 
harmonizes  in  tone  with  the  type  —  it  is  neither 
too  heavy  nor  too  light. 

sider  that  the  margins  of  white  space  around  the  adver- 
tisement are  nearly  always  unequal  we  readily  see  that 
this  does  not  suffice  —  it  is  arranging  a  composition 
for  a  space  one  size  and  shape  and  then  using  it  in 

[66] 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 

another  space.    This,  of  course,  applies  particularly  to 
those    advertisements    which    contain    a    considerable 


Every  new  fashion  of  Paris,  every  new 
model  the  New  York  modistes  create, 
is  immediately  duplicated  by  our  artists 
and  exactly  reproduced  at  great  saving. 

Many  Classy  Spring  Suits 
and  Beautiful  Coats 

in  the  loveliest  styles,  are  here  for  your 
choosing,  the  like  of  which  no  other 
store  in  this  city  can  show,  and  at  prices 
remarkably  low. 

The  woman  of  keen  artistic  sense 
can  revel  in  exclusive,  distinctive  models 
and  select  that  which  will  best  suit  her 
individual  need. 

If  Unable  to  Attend  This  Salt  Write  $r 
Telephone 

WALTON  ^  STEVENSON 

397  William  Tell  Street,  Chicaf>o 


Fig.  31. —  The  heavy  black  border  detracts  from 
the  readability  of  the  text. 

amount  of  white  space ;   the  solid  advertisements  indi- 
cate their  size  and  shape  more  plainly. 

As  an  illustration  of  this  point  consider  Figs.  28 
and  29.    In  the  former,  the  fairly  large  areas  of  white 

5  \(>i^ 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

space  in  each  of  the  two  advertisements,  together  with 
the  unequal  margins  around  the  page,  serve  to  give 
them  the  appearance  of  being  unbalanced  in  composi- 


I  Latest  Fashions  I 


Every  new  fashion  of  Paris,  every  new 
model  the  New  York  modistes  create, 
is  immediately  duplicated  by  our  artists 
and  exactly  reproduced  at  great  Sitving. 

Many  Classy  Spring  Suits 
and  Beautiful  Coats 

in  the  loveliest  styles,  are  here  for  your 
choosing,  the  like  of  which  no  other 
store  in  this  city  can  show,  and  at  prices 
remarkably  low. 

The  woman  of  keen  artistic  sense 
can  revel  in  exclusive,  distinctive  models 
and  select  that  which  will  best  suit  her 
individual  need. 


I 


//  Uuablt  It  Attend  This  Sale  Write  »r 
Telephone 

WALTON  a?  STEVENSON 

397  William  Tell  Street,  Chicago 


I 


Fig.  32. —  The  individual  spots  of  this 
border  are  too  large  and  tend  to  make  the 
whole  advertisement  "  spotty." 

tion.    In  Fig.  29,  however,  the  effect  is  different.    The 
actual  size  and  shape  of  the  advertisements  are  defined 

[681 


J 


THE   TYPOGRAPHY   OF  ADVERTISEMENTS 

by  the  borders,  and  the  arrangement  within  is  well 
balanced  and  pleasing. 

Then,  too,  with  a  border  around  an  advertisement 
the  compositor  has  a  little  more  leeway  in  his  oppor- 
tunity for  arrangement.  Groups  of  type  and  decora- 
tion, which  are  out  of  all  balance,  and  which  seemingly 
have  little  relation  one  to  the  other,  may,  by  the  placing 
of  a  border  around  them,  be  brought  together  into  a 
unit. 

So  we  decide  that  borders  are  desirable.  The  next 
consideration  is  as  to  what  borders  shall  be  used. 

One  great  essential  demands  our  attention  when  we 
consider  the  use  of  borders  —  and  that  is,  they  must 
harmonise  with  the  type. 

Now,  let  us  "get  together"  on  this  question  of 
harmony.  With  all  due  regard  for  that  dislike  of 
many  printers  for  what  may  be  called  "  art  terms,"  we 
find  that  in  no  other  way  than  by  their  use  can  we 
arrive  at  a  definite  understanding  of  this  point,  and 
after  one  has  overcome  his  prejudice  toward  the  use 
of  these  phrases  in  connection  with  typography  he 
finds  that  they  are  simple,  easily  understood  and  wholly 
practicable. 

Harmony,  in  this  connection  —  the  use  of  borders 
around  advertisements  —  is  of  two  kinds  :  shape  har- 
mony and  tone  harmony.  Of  the  two,  perhaps,  tone 
harmony  is  the  more  important,  as  it  more  frequently 
offers  to  the  compositor  opportunity  for  getting  away 
from  what  constitutes  good  design. 

The  border  must  harmonize  in  tone  with  the  type 

[69] 


INTENTIONAL     SECOND  EXF^OSURE 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

space  in  each  of  the  two  advertisements,  together  with 
the  unequal  margins  around  the  page,  serve  to  give 
them  the  appearance  of  being  unbalanced  in  composi- 


I  Latest  Fashions  ! 


Every  new  fashion  of  Paris,  every  new 
model  the  New  York  modistes  create, 
is  immediately  duplicated  by  our  artists 
and  exactly  reproduced  at  great  s;tving. 

Many  Classy  Spring  Suits 
and  Beautiful  Coats 

in  the  loveliest  styles,  are  here  for  your 
choosing,  the  like  of  which  no  other 
store  in  this  city  can  show,  and  at  prices 
remarkably  low. 

The  woman  of  keen  artistic  sense 
can  revel  in  exclusive,  distinctive  models 
and  select  that  which  will  best  suit  her 
individual  need. 


I 


If  Uual^U  t»  Attend  Thu  Sale  Write  or 
Telephone 

WALTON  ^  STEVENSON 

397  William  Tell  Street,  Chica^io 


I 


Fig.  Z2. —  The  individual  spots  of  this 
border  are  too  large  and  tend  to  make  the 
whole  advertisement  *'  spotty." 

tion.    In  Fig.  29,  however,  the  effect  is  different.    The 
actual  size  and  shape  of  the  advertisements  are  defined 

[68] 


J 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 

by  the  borders,  and  the  arrangement  within  is  well 
balanced  and  pleasing. 

Then,  too,  with  a  border  around  an  advertisement 
the  compositor  has  a  little  more  leeway  in  his  oppor- 
tunity for  arrangement.  Groups  of  type  and  decora- 
tion, which  are  out  of  all  balance,  and  which  seemingly 
have  little  relation  one  to  the  other,  may,  by  the  placing 
of  a  border  around  them,  be  brought  together  into  a 
unit. 

So  we  decide  that  borders  are  desirable.  The  next 
consideration  is  as  to  what  borders  shall  be  used. 

One  great  essential  demands  our  attention  when  we 
consider  the  use  of  borders  —  and  that  is,  they  must 
harmonise  zvith  the  type. 

Now,  let  us  ''get  together"  on  this  question  of 
harmony.  With  all  due  regard  for  that  dislike  of 
many  printers  for  what  may  be  called  "  art  terms,"  we 
find  that  in  no  other  way  than  by  their  use  can  we 
arrive  at  a  definite  understanding  of  this  point,  and 
after  one  has  overcome  his  prejudice  toward  the  use 
of  these  phrases  in  connection  with  typography  he 
finds  that  they  are  simple,  easily  understood  and  wholly 
practicable. 

Harmony,  in  this  connection  —  the  use  of  borders 
around  advertisements  —  is  of  two  kinds  :  shape  har- 
mony and  tone  harmony.  Of  the  two,  perhaps,  tone 
harmony  is  the  more  important,  as  it  more  frequently 
offers  to  the  compositor  opportunity  for  getting  away 
from  what  constitutes  good  design. 

The  border  must  harmonize  in  tone  with  the  type 

[69] 


i 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

used  in  the  advertisement  —  it  must  be  neither  too  dark 
nor  too  light,  but  of  approximately  the  same  strength 
of  color.  Generally  speaking,  we  may  say  "  light  bor- 
ders with  light  type  and  heavy  borders  with  heavy 
type."  The  border  must  not,  unless  it  be  of  such 
nature  in  its  design  as  to  suggest  in  some  manner  the 
article  advertised,  attract  attention  to  itself.  In  fram- 
ing a  picture  we  do  not  select  a  frame  which  is  so 
flashy  or  attractive  that  on  looking  at  it  one  exclaims 
"  What  a  handsome  frame !  "  and  forgets  all  about  the 
picture  itself.  Neither  should  the  printer,  in  setting 
an  advertisement,  use  a  border  which  will  attract  atten- 
tion to  itself  rather  than  to  the  text. 

The  advertisement  shown  in  Fig.  30  is  surrounded 
by  a  plain  rule  border  which  is  of  the  proper  tone  to 
harmonize  with  the  type  on  the  inside.  The  border  is 
not  obtrusive,  it  does  not  attract  attention  from  the 
"talking  "  parts  of  the  advertisement,  and  yet  it  serves 
all  its  purposes  and  answers  all  the  requirements  in 
that  it  separates  the  advertisement  from  the  matter 
surrounding  it,  and  accentuates,  by  defining  the  outline 
of  the  advertisement,  the  pleasing  distribution  of  white 
space  which  goes  to  make  up  good  design. 

In  Fig.  31  is  shown  the  same  advertisement,  but 
with  a  heavier  border.  One  can  not  but  feel  that  with 
these  surroundings  the  text  of  the  advertisement  has 
lost  some  of  its  pulling  power,  and  although  the  black 
border  will  undoubtedly  attract  a  passing  glance,  the 
contrast  between  its  blackness  and  the  light  tone  of  the 


170] 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 

type  is  not  pleasing  to  the  eye,  and  the  advertisement  is 
harder  to  read. 

But  plain  rules  are  not  always  used  for  borders 
around  advertisements.  Frequently  it  is  found  desir- 
able to  use  the  more  decorative  ones,  and  it  is  in  the 
use  of  these  decorative  borders  that  one  is  the  most 
likely  to  detract  from  the  text.  Such  an  instance  is 
shown  in  Fig.  32.  Here  we  have  a  border  which 
attracts  attention  by  reason  of  the  size  of  the  various 
spots  of  which  it  is  composed.  When  we  look  at  this 
advertisement,  the  eye  perceives  the  border  as  indi- 
vidual spots,  each  spot  exercising  a  certain  amount  of 
attraction,  and  the  unconscious  attempt  to  look  at  all 
of  them  results  in  a  confusion  from  which  one  seeks 
relief  in  the  plainer  borders.  No  matter  how  decorative 
the  border  may  be,  however,  if  the  various  spots  of 
which  it  is  composed  are  small  enough  to  blend  into 
a  design  and  lose  their  individuality,  it  is  not  objection- 
able. This  is  illustrated  in  Fig.  33,  a  German  adver- 
tisement. Although  the  border  is  composed  of 
numerous  round  spots,  the  fact  that  they  are  small 
causes  us  to  see  the  border  as  a  whole,  rather  than  the 
individual  pieces  of  which  it  is  composed. 

The  advertisements  in  Fig.  34,  reproduced  from  a 
Swiss  publication,  show  a  careful  regard  for  this  ques- 
tion of  tone  harmony  as  applied  to  the  use  of  borders. 
We  can  not  but  admire  the  nicety  of  discrimination 
which  has  actuated  the  compositor  in  his  choice  of 
borders  for  these  advertisements,  each  one  of  them 


M 


[71] 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

showing  a  most  pleasing  relation  between  the  type  and 
the  surrounding  border. 

In  addition  to  securing  a  harmony  of  tone  between 

IDIE  PROBEl 

DER 

EHMCKE 
ANTIQUA 

1ST 

crfchienen!  Freund  und  Feind  werden  ihre 
Freude  <an  der  iiberzeugenden  Virkung  der 
Sdirift  und  an  der  fdioncn  Aus{?attung  der 
Probe  hdben.  Das  f6feitige  Heft  entbalt  eine 
Fiillc  neuer  Anregungen  fiir  den  modernen 
Sdtzbdu  und  fiir  eine  vornehme  Fdrbenwahl. 
Es  i(?  im  bepen  Sinne  des  Vortes  ein  Mu(?er- 
budi!  IntercHenten  wird  die  Ehmdce- Probe 
auf  Verlangen  kopenlos  zugefandt  von  der 

Schrijtgieperei  Flinfch  Frankfurt^- M 

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 

Fig.  33. —  Although  decorative  in  design, 
this  border  is  pleasing  because  the  various  spots 
of  which  it  is  composed  are  small  enough  to 
blend  into  the  general  design. 

border  and  type,  one  should  see  that  the  same  harmony 
is  preserved  between  type  and  rules  where  the  latter 

\72] 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 


^mitmkmmSKinWil^iStuKm^Xl^mSKmCm 


mebrfarbendruck 


Fiir  Mnstm 


$(i)neUpre55en| 


IHaecbinenfabrik  lobannisbcrg 


RIetn,  Forat  £t  Dobn  na(t>(olg(T 

GCldenbdniamRbein 


man  MrUntjt  Prrlstlstrn 


D«rtrt«r  ffir  dk  iturtOx  s^bntM:  )ob.  OleH  &  Co.,  Orlihon-ZQnd) 
D«rtTti«r  ffir  dit  ffaiufts.  S4»n>fii:  Rltred  5ornun9,  G«n(    «««i« 


gac^Kiia 


TIEMANN-MEDIAEVAL 

MIT  SCHMUCK  UND  INITIALEN 

NACH  ZEICHNUNG  VON  PROR  WTIEMANN 

Wie  unfcre  anderen  bekannten  Scfiriften 
wird  audi  diefe  fidi  Bahn  bredien  da  fie 
)ederverftandnisvoIlgeretzten,gutgedrudcten 
Arbeit  ein  vomehmes  Ausfehen  gibt.  Die 
mit  vielen  Anwendungen  ausgeftatlete  Probe 
fenden  wir  an  Kaufliebhaber  um(bnft~--^^ 
Ganze  BudidruAerei^Einriditungen  ftets 
auf  Lager. 

GEBR,  KLINGSPOR 
OFFENBACH  A.M. 


Fig.   34. —  Advertisements  from  a   Swiss  publication.     Each  one 
illustrates  harmony  of  tone  between  border  and  text. 


\1Z\ 


INTENTIONAL     SECOND  EXPOSURE 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 

showing  a  most  pleasing  relation  between  the  type  and 
the  surrounding  border. 

In  addition  to  securing  a  harmony  of  tone  between 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 


FQr  feinsten 


:: 
:: 

•  • 
«• 

I: 


t: 


K 


:: 


:: 


DIE  PROBE 

DER 

EHMCKE 
ANTIQUA 

1ST 

erfchienen!  Freund  und  Feind  werden  ihre 

j:  Freude  <an  der  iiberzeugenden^^rkung  der 

i:  Sdirift  und  an  der  fdioncn  Aus[?dttung  der 

i\  Probe  hdben.  Das  5-6feitige  Heft  enthalt  einc 

i:  Fulle  neuer  Anregungen  fiir  den  modernen 

::  Sdtzbdu  und  fiir  eine  vornehme  Farbenwahl. 

11  Es  i(?  im  be|?cn  Sinne  des fortes  ein  Muper- 

11  budi!  IntercfTenten  wird  die  Ehmdce- Probe 

i\  «auf  Verlangen  ko(?enlos  zugefandt  von  der 

I  Schrijtgie^erei  Flin[cJi  Frankfurt; M 

5;««»»#5«« •••••••••••••••••••••••••••••••••••»•••■•••••••••••••• ••••••••••••• 


Fig.  33. —  Although  decorative  in  design, 
this  border  is  pleasing  because  the  various  spots 
of  which  it  is  composed  are  small  enough  to 
blend  into  the  general  design. 

border  and  type,  one  should  see  that  the  same  harmony 
is  preserved  between  type  and  rules  where  the  latter 

\72] 


mebrfarbendru* 


empnebit  ibn 


Scbncllpressen 


ma5ct)inenfabrih  jobannisbcrg 

ftlein,  Forst  &  Oobn  nacDfolger 
GddCnbeim  am  RlK>n 


man  Milanflt  PRisllsttn 


man  Dtrlangr  Pirl»llstrn 


Dtttrtm  fBr  dt(  drut^tx  S<i)n)ftz:  )ob.  Gitti  &  Co.,  Orlikon^Zflrid) 
DfTtrttM  fOr  die  fftniis.  S^mtiz:  RIfrcd  l^ornung,  Genf  «««« 


I  TIEMANN-MEDIAEVAL 

I  MIT  SCHMUCK  UND  INITIALEN 

i  NACH  ZEICHNUNG  VON  PROH  W  TIEMANN 

Wie  unfere  anderen  bekannten  Sdiriften 
wird  audi  diefe  fidi  Bahn  bredien  da  fie 
jederverftandnisvoIlgefetzten,gutgedrudcten 
Arbeit  ein  vomehmes  Ausfehen  gibt.  Die 
mitvielenAnwendungenausgcftattetc  Probe 
fenden  wir  an  Kaufliebhaber  umfonft--^^^^ 
Gainze  Budidrudterci=^Einriditungen  ftets 
auf  Lager 

GEBR.KLINGSPOR 
OFFENBACH  AM. 

ijjiiiiiiiiiiiijmijiiiijiijmjjjjjmmjiijiijjjimjim 


Fig. 


34. —  Advertisements  from  a   Swiss  publication.     Each  one 
illustrates  harmony  of  tone  between  border  and  text. 


[73] 


k» 


. 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS- 

are  used  in  the  advertisement,  either  for  underscoring 
lines  or  dividing  lines  or  groups  of  type.  The  rules 
and  type  must  be  of  such  weight  or  color  that  neither 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

illustrations  of  type  and  rules  which  harmonize  with 
each  other,  while  the  examples  in  Fig.  36  illustrate  the 
lack  of  a  proper  harmony.     In  the  former  group  the 


11 


THE  HENRY  O.  SHEPARD  COMPANY 


PRINTERS  AND  ENGRAVERS 


Cfte  ^ftelDon  Ptfntfng  Companp 


HIGH  -  CLASS  PRINTING 


FlC.  35. —  Here  the  rules  harmonize  in  tone  with  the  type  underneath 

which  they  are  placed. 

will  overshadow  or  "  kill  "  the  other.  This  is  a  most 
important  feature.  Where  a  complete  tone  harmony 
is  preserved,  rules  used  in  connection  with  type  are 
very  effective,  and  much  is  added  to  the  general  appear- 
ance. Where  this  tone  harmony  is  lacking,  however, 
the  rules  would  better  be  omitted.   In  Fig.  35  are  shown 

l74] 


V 


Booklet  Printing  a  Specialty 


We  Make  a  Specialty  of  the  Finest  Catalogue  Printing 


Commercial  Stationery  and  Booklets 


Printer0  :  ©ngratierg  :  De$ignet0 


Fig.  36. —  This  illustration  shows  the  lack  of  unity  between  type  and 
rules  when  tone  harmony  is  not  considered. 

various  rules  are  of  such  weight  or  color  that  they 
seem  a  part  of  the  lines  underneath  which  they  are 
used,  while  in  the  latter  group  there  is  no  unity  what- 
ever between  type  and  rules.  The  rules  used  in  Fig. 
35  are  of  weights  known  as  half-point  face,  one-point 
face,  two-point  face  and  three-point  face.     The  light, 

[75] 


II 


INTENTIONAL     SECOND  EXPOSURE 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

are  used  in  the  advertisement,  either  for  underscoring 
lines  or  dividing  lines  or  groups  of  type.  The  rules 
and  type  must  be  of  such  weight  or  color  that  neither 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

illustrations  of  type  and  rules  which  harmonize  with 
each  other,  while  the  examples  in  Fig.  36  illustrate  the 
lack  of  a  proper  harmony.     In  the  former  group  the 


J 


It 


f 


THE  HENRY  O.  SHEPARD  COMPANY 


PRINTERS  AND  ENGRAVERS 


Cfte  %6elDon  Pttnttng  Company 


HIGH  -  CLASS  PRINTING 


Fig.  35.—  Here  the  rules  harmonize  in  tone  with  the  type  underneath 

which  they  are  placed. 

will  overshadow  or  "  kill  "  the  other.  This  is  a  most 
important  feature.  Where  a  complete  tone  harmony 
is  i)reserved,  rules  used  in  connection  with  type  are 
very  effective,  and  much  is  added  to  the  general  appear- 
ance. Where  this  tone  harmony  is  lacking,  however, 
the  rules  would  better  be  omitted.   In  Fig.  35  are  shown 

[74] 


'i 


'^ 


ill 


Booklet  Printing  a  Specialty 


We  Make  a  Specialty  of  the  Finest  Catalogue  Printing 


Commercial  Stationery  and  Booklets 


Printet0  :  aBnffratJet0  :  De0igner0 


Fig.  36. —  This  illustration  shows  the  lack  of  unity  between  type  and 
rules  when  tone  harmony  is  not  considered. 

various  rules  are  of  such  weight  or  color  that  they 
seem  a  part  of  the  lines  underneath  which  they  are 
used,  while  in  the  latter  group  there  is  no  unity  what- 
ever between  type  and  rules.  The  rules  used  in  Fig. 
35  are  of  weights  known  as  half-point  face,  one-point 
face,  two-point  face  and  three-point  face.     The  light, 

[75] 


II 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 

or  hair-line  rule,  such  as  that  shown  underneath  the 
top  line  in  Fig.  36,  should  be  avoided  in  work  of  this 
kind.    One  rarely  if  ever  finds  type  which  is  too  light 


The  Housewi ves  Who  Do 
Their  Own  Buying. 


IN  the  swanning  B«-hive«  th»l  wc  c»ll  Big  Citiet.  llw 
liend  by  custom  and  cumple  u  toward  luxuiy  and 
case.  With  out  City  L.adic>,  the  "itMidi"  not  only  per- 
(omi  the  household  dulin,  but  are  usually  enttustcd  with 
ihc  household  buying,  at  well. 

Bui  iti  dideretit  in  the  Small-Townt,  the  VillagM,  ami 
Hunlelt.  There.  mo«l  ai  the  Housewives  do  their  own 
%<roili,  or  actively  auitt  in  having  it  done,  and  they 
mvafiably  do  all  of  the  family  buying  themselves. 

They  note  with  an  im[>artial  eye  whcthef  U's  Pa  who 
needs  a  new  suit  of  clothes,  or  Daughter  a  nine-gored 
skirt  and  a  long  coat.  They  determine  in  their  own  minds 
whether  the  lanuly  shall  eat  Quaker  Oats  or  com  flakes- 
use  Fairy  Soap  or  castilr.  and  ifiey  are  the  family's  Court 
of  Appeal  in  deciding  whether  to  buy  a  Piano  or  new 
"set"  lor  the  "spare  "  room. 

And  ifiese  are  the  good  Women  whoae  distinction  it  is 
to  preside  over  families  which  aggregate  67' ,",  of  ourflO 
millions  of  population.  They  are  the  salt  of  the  earth, 
tlieir  good  will  is  a  power — and  their  confidence  is  a 
business  asset. 

Home  Life  is  edited  for  and  to  them  and  so  much  do 
they  appreciate  it.  that  900.0(50  of  their  Homes^tubKribc 
lot  it  arid  pay  their  subscnplions  in  advance. 

This  in  itself  it  evidence  that  their  confidence  it  a  buti- 
nett  asset.  Do  900,000  of  their  Hornet  subtuiGe  to  your 
goods  >  Home  Life  will  bring  you  their  custom — your 
goods  must  earn  their  confidence. 

Home  Life 

D.  W.  Gayloid.  Ad««tiaa|  M<m|« 

Chicago 

L.  ft    Hum.  Em«>  M|>  .  Mr.  Y«k 


Fio.  37. —  The  use  of  rules  of  a  proper 
weight  for  underscoring  the  lines  of  the  head- 
ing would  be  an  improvement. 

to  harmonize  with  the  half-point  face  rule,  and  the 
lighter  rule  is  more  likely  to  give  trouble  to  both  elec- 
trotyper  and  pressman.    An  instance  of  the  lack  of  tone 

[76] 


THE  TYPOGRAPHY   OF  ADVERTISEMENTS 


harmony  caused  by  the  use  of  hair-line  rules  for  under- 
scoring is  shown  in  Fig.  37.    Assuming  that  the  com- 


THE  PRINCIPLES 
OF  DESIGN 

THIS  BOOK  since  its  publication  has  received 
the  unreserved  commendation  of  teachers  and 
students.     It  treats  with  directness  and  in  a 
most  simple  manner  of  the  subject  to  which  all  those 
interested  in  Art  Education  are  giving  most  careful 
thought.     The   book  contains  over  one  hundred 
unique  and  valuable  illustrations.     We  suggest  an 
early  order  for  your  library,  as  the  edition  is  limited. 
PRICE  $3.00 
THE  INLAND  PRINTER  CO. 

Chicago  and  New  York 


r^^  HUMAN  FIGURE 

By  JOHN  H.  VANDERPOEL 

4LMr.  Vanderpoel's  new  book  is  a  full  and 
concise  exposition  of  his  system.  The  text 
is  a  thorough  analysis  of  tlie  human  figure 
from  the  artist'sstandpoint,  feature  by  feature 
and  as  a  whole.  It  is  illustrated  with  54  full- 
page  plates,  variously  reproduced  in  half- 
tone, metzograph  and  tint  —  all  of  them 
masterly  drawings  of  the  greatest  value  to  the 
student.  In  addition  to  these  it  contains  330 
nnarginal  sketches.  Priu  Si.oo 

THE  INLAND  PRINTER  CO. 

CHICAGO   ::    NEW  YORK 


Fic.  38. —  Where  one  has  poor  rules,  corner- 
pieces  of  this  kind  are  very  acceptable,  and  do 
away  with  the  unsightly  joints. 

positor  has  used  the  underscoring  rules  to  add  weight 
to  the  heading  and  accentuate  it  as  a  spot  of  color,  it 


{77] 


INTENTIONAL     SECOND  EXPOSURE 


THE  TYPOGRAPHY   OF   ADVERTISEMENTS 

or  hair-line  rule,  such  as  that  shown  underneath  the 
top  line  in  Fig.  36,  should  be  avoided  in  work  of  this 
kind.     One  rarely  if  ever  finds  type  which  is  too  light 


The  Housewives  Who  Do 
Their  Own  Buying. 


IN  ikc  swaiming  Bec-hivo  iKal  we  call  Big  Citiu.  the 
ircnd  by  cuilofn  and  example  ii  toward  luxury  and 
eate.  With  our  Cily  L«die».  the  "maidj"  not  only  per- 
form the  household  duliet,  but  are  usually  entrusted  with 
the  household  buying,  as  well. 

But  its  different  in  the  Small-Towm,  the  Villages,  atvd 
FUmlels.  There,  most  of  ifie  Housewives  do  their  own 
work,  or  actively  aui»l  in  having  it  done,  and  they 
invariably  do  all  of  the  family  tniying  thcmsekes. 

They  note  with  an  impartial  eye  whether  it's  P»  who 
needs  a  new  suit  of  cloikrs.  or  Daughter  a  nine-gored 
skirt  and  a  long  coat.  ITscv  deltrmine  in  tl»eir  own  minds 
whether  the  family  shall  cat  Quaker  Oats  or  com  flakes — 
use  Fairy  .Sjap  or  casiilr.  and  ihey  are  the  family's  Court 
of  .appeal  in  deciding  wbriher  to  buy  a  Piano  or  new 
"set"  lor  the  "spare  "  room, 

And  tlK-se  are  the  good  Women  Mhose  distinction  it  is 
to  preside  over  families  which  aggregate  t>7'  ,  of  our  80 
millions  of  population.  They  are  the  ult  of  the  earth. 
tfieir  gooowiU  is  a  power  — and  their  confidence  is  a 
business  asset. 

Home  Life  is  edited  for  and  to  them  and  to  much  do 
they  appreciate  it.  that  900.0(JO  of  dieir  Homes^subacribe 
foi  it  aiKl  pay  their  subtcriptions  in  advance. 

This  in  itself  it  evidence  ll>al  ifseir  confidence  is  a  busi- 
ncM  asset.  Do  900,000  of  their  |-Iomes  subscribe  to  your 
goods  >  Home  Ljfe  will  bring  you  their  custom— your 
goods  muat  earn  their  confidence. 


THE  TYPOGRAPHY   OF  ADVERTISEMENTS 

• — ■ — - — ■ 

harmony  caused  by  the  use  of  hair-line  rules  for  under- 
scoring is  shown  in  Fig.  37.    Assuming  that  the  com- 


THE  PRINCIPLES 
OF  DESIGN 

THIS  BOOK  since  its  publication  has  received 
the  unreserved  commendation  of  teachers  and 
students.  It  treats  with  directness  and  in  a 
most  simple  manner  of  the  subject  to  which  all  those 
interested  in  Art  Education  are  giving  most  careful 
thought.  The  book  contains  over  one  hundred 
unique  and  valuable  illustrations.  We  suggest  an 
early  order  for  your  library,  as  the  edition  is  limited. 

PRICE  $3.00 
THE  INLAND  PRINTER  CO. 

Chicago  and  New  York 


Home  Life 

D.  W.  Gaylaid,  Adv«itMi|  MaMfer 

Chicago 


J 


Fig.  37. —  The  use  of  rules  of  a  proper 
weight  for  underscoring  the  lines  of  the  head- 
ing would  be  an  improvement. 

to  harmonize  with  the  half-point  face  rule,  and  the 
lighter  rule  is  more  likely  to  give  trouble  to  both  elec- 
trotyper  and  pressman.    An  instance  of  the  lack  of  tone 

[76] 


rA^  HUM  AN  FIGURE 

By  JOHN  H.  VANDERPOEL 

4LMr.  Vartderpoel's  new  book  is  a  full  and 
concise  exposition  of  his  system.  The  text 
is  a  thorough  analysis  of  the  human  figure 
from  the  artist's  standpoint,  feature  by  feature 
and  as  a  whole.  It  is  illustrated  with  54  full- 
page  plates,  variotisly  reproduced  in  half- 
tone, metzograph  and  tint  —  all  of  them 
masterly  drawings  of  the  greatest  value  to  the 
student.  In  addition  to  these  it  contains  330 
marginal  sketches.  Price  Si-OO 

THE  INLAND  PRINTER  CO. 

CHICAGO    ::    NEW  YORK 


Fig.  38. —  Where  one  has  poor  rules,  corner- 
pieces  of  this  kind  are  very  acceptable,  and  do 
away  with  the  unsightly  joints. 

positor  has  used  the  underscoring  rules  to  add  weight 
to  the  heading  and  accentuate  it  as  a  spot  of  color,  it 

[77] 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

„        .  ■     *■ 

is  readily  seen  that  he  has  not  taken  advantage  of  his 
opportunity  to  strengthen  the  hnes.  The  Hght  rules 
add  but  little  color  to  the  group,  and  by  their  contrast 
in  tone  with  the  type-face  render  the  whole  thing  the 
more  confusing.  A  heavier  rule,  harmonizing  in  tone 
with  the  type,  would  seem  more  an  actual  part  of  the 
lines  than  an  added  decoration. 

The  compositor  is  frequently  at  a  disadvantage  in 
the  use  of  borders  around  advertisements,  owing  to 
the  fact  that  the  rules  at  his  disposal  are  not  in  the 
best  condition.  This  results  in  poor  joints  at  the  cor- 
ners and  a  most  unsatisfactory  appearance.  Where 
the  advertisement  is  to  be  electrotyped,  the  joining  of 
the  corners  is,  of  course,  taken  care  of  by  the  electro- 
typer,  but  where  the  advertisement  is  run  from  type 
other  means  must  be  resorted  to  in  order  to  get  pleas- 
ing results.  In  this  case  it  is  frequently  desirable  to 
use,  as  corner-pieces  for  the  rule  border,  one  of  the 
many  simple  little  spots  or  sections  of  border  which 
are  to  be  found  in  almost  every  composing-room.  An 
illustration  of  their  use  is  shown  in  Fig.  38.  It  is  not 
necessary,  nor  even  desirable,  that  the  rules  should 
join  closely  to  the  corner-pieces,  and  the  break  between 
the  two  is  not  in  the  least  objectionable,  the  effect  as  a 
whole  being  just  as  pleasing  as  the  border  of  solid  rule. 


[78I 


CHAPTER  VI. 

THE  DEPARTMENT-STORE   ADVERTISEMENT. 

HE  distinctive  feature  of  newspaper 
advertising  —  that  which  marks  the 
great  difference  between  the  adver- 
tisement composition  handled  in 
the  book  and  job  offices  and  that 
handled  in  the  offices  of  the  daily 
papers  of  the  great  cities  —  is  the 
department-store  advertising.  This 
form  of  advertising  is,  in  a  large  measure,  in  a  class  by 
itself ;  it  does  not  invite,  nor  lend  itself  so  readily  to, 
the  technical  discussion  which  may  be  applied  profit- 
ably to  the  typographical  features  of  the  smaller 
advertisements.  The  very  nature  and  method  of  con- 
struction of  the  page  or  two-page  advertisement  tend 
toward  a  condition  which  leaves  the  printer  little  choice 
for  the  technical  consideration  of  typographical  design. 
In  the  first  place,  these  advertisements  are  not  arranged 
in  the  composing-room,  but  in  the  office  of  the  adver- 
tising manager  of  the  store ;  in  the  second  place,  they 
are  usually  filled  closely  with  reading-matter  and  illus- 
trations, largely  doing  away  with  the  niceties  of  dis- 
tribution of  white  space  which  go  so  far  toward  making 
the  smaller  advertisement  attractive.     But  the  method 

[791 


: 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

of  handling  department-store  advertisements,  the  con- 
ditions which  must  be  met  in  their  production  against 
time  in  order  that  the  paper  may  not  be  late  —  these 
things  are  of  interest  to  all  who  have  to  do  with  typog- 
raphy. 

To  get  an  adequate  conception  of  the  large  depart- 
ment-store advertisement  we  must  go  back  to  the  prep- 
aration of  the  copy.  The  department  store  is  in  reality 
a  collection  of  small  stores,  and  each  of  these  small 
stores  bears  its  proportionate  share  of  the  cost  of  the 
page  advertisement.  The  first  requisite,  then,  is  to 
apportion  the  page  into  spaces  of  various  sizes,  depend- 
ing upon  the  amounts  which  the  heads  of  the  various 
departments  wish  to  use.  This  space,  of  course,  varies 
with  the  seasons,  and  for  numerous  other  reasons. 
And  this  apportioning  of  the  space  to  the  various 
departments  is  not  a  matter  to  be  treated  lightly  by  the 
advertising  manager.  He  has  troubles  of  his  own  in 
even  attempting  to  keep  the  various  department  heads 
satisfied,  each  one  of  them  being,  of  course,  vitally 
interested  in  furthering  the  interests  of  his  own  depart- 
ment. 

When  the  advertising  manager  has,  after  consulta- 
tion with  the  various  heads  of  departments,  ascertained 
just  what  space  is  required  by  each  department,  he 
makes  a  diagram  or  layout  similar  to  that  shown  in 
Fig-  39-  This  layout  is  usually  made  the  exact  size 
that  the  advertisement  is  to  be,  and  the  various  spaces 
are  numbered.    The  copy  which  is  to  go  in  each  space 


[80] 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 

is  numbered  to  correspond  with  the  number  in  the 
space  which  it  is  to  fill. 

To    the    foreman    of    the    composing-room,    then, 
comes  the  layout  for  the  advertisement,  together  with 
the  copy  for  the  various  spaces.    And  such  a  bunch  of 
copy  as  it  is.     To  the  uninitiated  it  seems  an  almost 
impossible  task  to  straighten  it  out  and  make  it  capable 
of  being  whipped  into  a  sane,  orderly  advertisement. 
Written  on  pieces  of  wrapping-paper,  note-paper,  let- 
ter-heads—seemingly on  any  old  scraps  of  paper  at 
hand  —  the  task  of  putting  it  in  shape  is  far  from  an 
inviting  one.     Occasionally  it  is  typewritten,  but  for 
the  most  part  it  is  in  pencil  and  frequently  (when  the 
advertising  manager  sends  in  the  copy  just  as  it  comes/ 
from  the  various  departments)   in  as  many  different! 
kinds  of  handwriting  as  there  are  heads  of  departments' 
in  the  store.     And  with  all  due  respect  to  these  heads 
of  departments  it  must  be  admitted  that  some  of  them 
are  exceedingly  shy  on  writing  —  to  say  nothing  of 
grammar,    spelling,   punctuation,    etc.     They   have   a 
supreme  contempt  for  even  the  ordinary  rules  of  gram- 
mar, and  this,  together  with  their  unrestricted  use  of 
strictly  trade  terms,  makes  their  copy  at  times  unintel- 
ligible to  all  except  those  printers  who  are  constantly 
handling  it.     To  the  newspaper  printer,  however,  the 
editing  of  copy  becomes  a  second  nature,  and  no  matter 
what  shape  the  copy  is  in  when  it  leaves  the  store,  the 
advertising  manager  feels  satisfied  that  "the  printer 
will  straighten  it  out "  and  put  it  in  readable  form. 
Checking  up  the  different  packages  of  copy  to  see 

[81] 


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fa 


INTENTIONAL     SECOND  EXPOSURE 


Ok 
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O 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

that  they  correspond  with  the  numbers  on  his  layout 
sheet,  the  foreman  turns  the  whole  thing  over  to  the 
man  in  charge  of  the  advertisements  for  that  particu- 
lar store,  or  gives  out  the  copy  to  the  printer  himself, 
just  as  he  sees  fit.  With  subordinates  specializing  in 
the  work  of  each  store,  his  work  is  much  simplified,  as 
these  men  know  all  of  the  peculiarities  of  the  advertis- 
ing which  they  are  handling  —  know  what  kind  of  rules 
to  use  for  panels,  whether  or  not  Mr.  So-and-so,  the 
advertising  man  of  that  store,  will  stand  for  a  border 
around  the  entire  page,  and  what  kind,  and  the  thou- 
sand and  one  things  which  would  ordinarily  come  up 
regarding  the  advertisement.  They  make  a  study  of 
this  particular  style,  and  when  the  foreman  has  passed 
the  copy  for  a  page  advertisement  over  to  one  of  these 
men  his  troubles  regarding  that  particular  page  are  — 
or  should  be  —  over. 

The  advertising  manager  usually  designates  on  the 
drawings  the  instructions  for  making  the  illustrations. 
Sometimes  these  drawings  come  to  the  composing- 
room  foreman,  and  at  other  times  they  go  direct  to  the 
etching-room.  In  the  former  event  the  foreman  checks 
them  over  to  see  that  the  sizes  marked  on  them  cor- 
respond to  the  spaces  left  for  them  in  the  layout ;  in 
case  the  drawings  go  direct  to  the  etching-room  he 
verifies  them  before  the  work  on  the  page  has  proceeded 
too  far,  in  order  that  no  mistake  may  be  made. 

What  impresses  one  most  favorably  is  the  efficient 
manner  in  which  the  foreman  in  charge  of  the  adver- 
tising handles  the  work.     Amid  the  rush  and  excite- 

[84I 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 


ment  of  the  assigning  to  their  respective  places  of 
scores  of  men,  the  telephone  calls,  the  copy-boys  rush- 
ing in,  leaving  copy,  cuts  and  drawings  on  the  desk, 
he  appears  cool  and  undisturbed. 

It  is  a  few  minutes  before  seven  o'clock  in  the 
evening  —  the  time  when  the  largest  number  of  men 
"  go  on  "  in  the  ad.-room.  Others  come  later,  some  at 
eight  o'clock,  some  at  nine  and  some  at  ten.  It  is  a 
hot  night  —  hot  outside  but  infinitely  more  so  in  the 
composing-room  —  and  convention,  in  the  matter  of 
attire,  has  been  cast  to  the  winds.  Not  only  have  hats 
and  coats  been  discarded,  but  vests,  collars,  ties  and 
even  shirts,  have  been  taken  oflf  in  the  desire  to  get  the 
work  done  with  as  much  comfort  as  possible. 

As  the  men  gather  around  tHe  foreman,  he  assigns 
them  to  their  positions  under  the  men  who  are  in 
charge  of  the  various  advertisements.  This  is  done 
quietly  and  quickly,  sometimes  nothing  more  than  a 
nod  of  the  head  being  necessary  to  indicate  to  a  man 
just  where  he  is  to  go.  Everything  is  especially  well 
systematized,  and  the  room  immediately  breaks  into 
the  full  swing  of  busy  activity. 

"  Yes,"  says  the  foreman,  "  the  styles  of  typography 
vary  greatly  with  the  different  stores.  Page  advertise- 
ments for  Jones'  store  must  be  set  in  type  not  smaller 
than  ten-point,  and  with  plenty  of  white  space  between 
lines  and  between  rules  and  type.  On  the  other  hand, 
the  advertisements  for  Conway's  store  must  be  set 
largely  in  eight-point  type,  with  few' leads  and  with 
the  type  jammed  up  close  to  the  rules. 

[85I 


V 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

"Then  the  question  of  arrangement  —  the  placing 
of  the  cuts,  panels,  etc.,  on  the  page  —  varies  mate- 
rially with  dififerent  advertising  men.  One  advertiser 
is  careful  about  the  balance  of  his  page.  If  he  uses  a 
panel  on  one  side  he  balances  it  by  a  corresponding 
panel  on  the  other  side.  If  he  uses  a  cut  on  one  side 
he  balances  it  by  a  cut  on  the  other  side,  and  so  on. 
Other  advertisers,  however,  pay  little  attention  to  this 
question  of  balance,  and  their  pages  show  a  lack  of 
orderly  arrangement." 

In  the  two-page  advertisement  shown  in  Fig.  40 
this  question  of  the  balancing  of  panels  has  been  care- 
fully considered,  and  although  the  advertisement  con- 
tains a  large  number  of  panels  of  varying  sizes  and 
shapes  the  whole  forms  an  orderly  arrangement. 

As  regards  the  type  for  display,  each  department 
store  usually  has  its  own  style.  The  display  portions  of 
the  advertisements  of  one  store  will  be  set  in  Pabst 
type,  another  store  will  use  Caslon  Bold  type,  and  so 
on.  This  practice  results  in  an  individuality  of  style 
which  is  a  part  of  good  advertising.  It  also  simplifies 
matters  immensely  for  the  composing-room.  Nor  is 
any  advertiser  allowed  to  use  the  display  type  which 
**  belongs  "  to  another.  This  point  is  mutually  under- 
stood and  rigidly  adhered  to. 

Ordinarily  the  matter  for  the  advertisement  is 
grouped  on  galleys  and  proofs  are  taken,  this  grouping 
of  the  various  departments  being  done  in  such  manner 
as  will  best  facilitate  assembling  them  into  the  full  page 
later  on.    These  proofs  are  then  sent  to  the  advertising 

[86] 


THE  TYPOGRAPHY   OF  ADVERTISEMENTS 


manager,  who  pastes  them  up  into  a  dummy,  following 
his  original  layout,  but  making  any  changes  which  he 
finds  necessary.  And  these  changes  are  sometimes 
numerous.  Occasionally,  because  of  the  arrival  of  a 
new  shipment  of  seasonable  goods,  or  for  some  other 
good  and  sufficient  reason,  the  advertisement  will  be 
torn  apart  and  the  greater  portion  of  it  reset.  In  fact, 
on  some  pages  the  time  for  alterations  will  equal,  if 
not  exceed,  the  amount  of  time  spent  in  the  original 
composition.  Usually,  no  extra  charge  is  made  by  the 
paper  for  these  alterations. 

The  time  consumed  for  setting  a  full-page  depart- 
ment-store advertisement  will  average  approximately 
fifty  hours.  The  time  which  elapses  between  the  giv- 
ing out  of  the  copy  and  the  turning  in  of  the  proof  will, 
of  course,  vary  according  to  the  necessity  for  rush  and 
the  number  of  men  among  whom  these  fifty  hours  are 
divided.  In  emergency,  proofs  of  a  full-page  adver- 
tisement will  be  placed  on  the  foreman's  desk  within 
two  or  three  hours  after  the  copy  leaves  his  hands. 
Men  will  swarm  around  a  page  advertisement  so  thick 
that  they  are  literally  falling  over  one  another,  and 
the  "  takes  "  will  be  short  —  sometimes  but  two  or 
three  lines.  Your  newspaper  man  thinks  nothing  of 
wasting  time  to  save  it.  In  the  last  moments,  when  the 
page  is  being  closed  up,  and  the  hands  of  the  clock 
draw  dangerously  near  the  limit  of  time  allowed,  no 
account  is  taken  of  how  much  time  a  man  may  waste 
in  his  efforts  to  advance  by  a  few  seconds  the  comple- 
tion of  the  advertisement. 

[87] 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 


And  amid  all  the  rush  and  excitement  incident  to 
the  getting  out  of  the  page  advertisement,  the  question 
of  accuracy  must  be  carefully  considered.  Although 
the  page  contains  a  multiplicity  of  prices,  they  must  all 
be  right,  else  there  are  serious  results.    To  illustrate: 

A  certain  department  store  recently  had  a  sale  on 
soap,  the  intention  being  to  sell  66  bars  of  a  well-known 
five-cent  brand  for  $2.79.  Through  an  error  the  adver- 
tisement read  "  66  bars  of  soap  for  89  cents."  This 
naturally  drew  a  large  crowd,  and  as  each  shopper 
asked  for  the  order  of  soap  he  was  directed  to  the 
superintendent.  The  latter  explained  ihe  mistake,  and 
insured  the  shopper  that  if  he  insisted  the  store  would, 
of  course,  stand  by  the  price  given  in  the  advertise- 
ment. 

And  did  he  insist? 

Later  in  the  day  a  driver  for  the  store  remarked  as 
he  delivered  an  order  of  the  soap  to  a  customer: 
"  Well,  this  thing  will  cost  somebody  some  coin,  for 
over  one  thousand  orders  of  this  soap  have  already 
been  sent  out." 

One  thousand  orders  —  and  each  order  represented 
a  loss  of  $1.90,  the  difference  between  the  intended 
price  and  the  figures  given  in  the  advertisement. 

Whether  the  store  or  the  newspaper  stood  this  loss 
would,  of  course,  depend  upon  which  was  responsible 
for  the  error.  It  sometimes  happens  that  after  the 
final  proof  has  been  revised  a  letter  or  figure  may  drop 
out  of  the  form  or  become  transposed  before  the  form 
is  stereotyped,  and  in  this  case  the  paper  is  at  fault. 

[88] 


i 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

The  composing-room  of  a  metropolitan  daily 
impresses  one  as  a  place  where  they  "  do  things  "  — 
and  do  them  in  a  big  way.  Plenty  of  men  to  do  the 
work,  to  be  sure,  and  a  certain  freedom  and  good  fel- 
lowship not  usually  to  be  found  in  job-offices,  where 
the  time-ticket  receives  the  greatest  consideration.  One 
almost  feels  that  compositors  here  have  things  *'  pretty 
soft "  and  that  it  is  more  or  less  of  a  snap. 

But;  late  in  the  evening,  a  boy  rushes  in  with  a  page 
advertisement  which  must  be  gotten  in  the  morning 
paper,  and  the  comparatively  easy-going  routine  of  the 
department  is  at  once  changed  into  a  scene  of  bustling 
activity.  All  the  men  that  can  possibly  be  used  are 
detailed  on  the  rush  advertisement  and  they  "  pull  out  " 
with  a  right  good  will,  for  no  matter  what  may  happen 
or  what  they  may  be  called  upon  to  do,  the  paper  must 
be  gotten  out  on  time.  And  they  get  it  out.  The 
thought  that  they  have  a  snap  is  forgotten  in  the  greater 
fact  that  what  they  are  there  to  do,  they  do.  Their 
special  function  lies  in  their  ability  to  cope  with  emer- 
gencies —  to  do  special  ''  stunts "  which  ordinarily 
would  seem  well-nigh  impossible.  And  it  is  perhaps 
this  very  thing  that  makes  the  work  of  the  advertise- 
ment compositor  on  the  metropolitan  daily  fascinating. 
He  feels  that  the  getting  out  of  the  paper  on  time  is  the 
one  thing  greatly  to  be  desired,  and  with  the  ever- 
changing  problems  and  emergencies  this  becomes  a 
game  in  the  playing  of  which  he  takes  the  most  acute 
interest. 


[89] 


i 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

advertisements,  and  let  the  examples  themselves  tell 
the  story.  In  Figs.  41  — 41-b  are  shown  a  number  of 
advertisements  of  this  character  taken   from  various 


CHAFI'ER  VII. 

HAND-LETTERED   ADVERTISEMENTS. 

,ORE  and  more  is  the  hand-drawn 
letter  attaining  to  a  prominent  place 
in  our  advertising  pages  —  both 
magazine  and  newspaper.  With  a 
natural  desire  to  a'^hieve  distinction 
in  their  particular  fields  of  pub- 
licity, and  with  the  possibilities  of 
type  seemingly  exhausted,  many  of 
the  large  advertisers  have  turned  to  the  designers  for 
aid  in  effectively  furthering  the  interests  of  their 
wares.  Without  at  all  conceding  that  the  limitations 
of  type  display  have  been  reached,  we  can  not  but 
recognize  the  fact  that  interest  and  beauty  have  been 
added  to  our  advertising  pages  by  the  freedom  and 
the  absence  of  rigidity  and  stiffness  which  character- 
ize the  hand-drawn  letters ;  and  while  this  series  of 
articles  deals  more  particularly  with  type  arrange- 
ments, it  is  felt  that  the  advantage  which  the  printer 
will  gain  by  a  study  of  these  specially  designed  adver- 
tisements is  not  to  be  overlooked. 

On  the  principle  that  one  example  is  worth  a 
thousand  arguments,  we  will  pass  over  any  lengthy 
discussion   of   the   merits    of    hand-drawn    letters    in 

[90] 


1 


4^k  the  I 


MOTOR  TRUCKS 


sgiofflk^agsi: 


^  FhciutrJ  truck  javef  monep  in  suburhoft  JeliveifaiiJ  j 
other  lon^hauUt^domg^  work  of  jrvtndlximteamr 

2,  use  two  RK^ard  tmcks  in  piano 

OMivery  and  other  naming  wint- 

■^j^^v  in  a  radius  of  twenty-five  miles. 

Each  truck  refJaoes  three  horse  trucks  and 

crews,  thereby  saving  $a5'a  day 

Rdunl  mick*  aie  used  in  Il8  linef 

of  business.  TKcy  m  told  exduawl^  throu^ 

PickinJ  dealers,  who  m^tain  Inxk  ttrrvx 

ot  the  stmt  standard  a<  tKat  extended 

to  cnmm  t^  F^duid  aa. 


'/- 


f  :^^M 


"PackarJ  \totor  Car  Company  Detroit 


Fig.  41. —  Example  of  hand-lettered 
magazine  advertisement. 

magazines,  and  one  can  not  fail  to  note  their  distinc- 
tion in  comparison  with  the  advertisements  which  are 
set  in  type.  Look  through  the  advertising  sections  of 
any  of  the  popular  magazines,  and  you  will  be  surprised 
at  the  .number  of  pages  in  which  the  hand-drawn  letter 

[91] 


\ 


INTENTIONAL     SECOND  EXPOSURE 


CHAPTER  VII. 


HAND-LETTERED   ADVERTISEMENTS. 

,ORE  and  more  is  the  hand-drawn 
letter  attaining  to  a  prominent  place 
in  our  advertising  pages  —  both 
magazine  and  newspaper.  With  a 
natural  desire  to  achieve  distinction 
in  their  particular  fields  of  pub- 
licity, and  with  the  possibilities  of 
type  seemingly  exhausted,  many  of 
the  large  advertisers  have  turned  to  the  designers  for 
aid  in  effectively  furthering  the  interests  of  their 
wares.  Without  at  all  conceding  that  the  limitations 
of  type  display  have  been  reached,  we  can  not  but 
recognize  the  fact  that  interest  and  beauty  have  been 
added  to  our  advertising  pages  by  the  freedom  and 
the  absence  of  rigidity  and  stiffness  which  character- 
ize the  hand-drawn  letters ;  and  while  this  series  of 
articles  deals  more  particularly  with  type  arrange- 
ments, it  is  felt  that  the  advantage  which  the  printer 
will  gain  by  a  study  of  these  specially  designed  adver- 
tisements is  not  to  be  overlooked. 

On  the  principle  that  one  example  is  worth  a 
thousand  arguments,  we  will  pass  over  any  lengthy 
discussion   of   the   merits   of   hand-drawn    letters    in 

[90] 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 

advertisements,  and  let  the  examples  themselves  tell 
the  story.  In  Figs.  41  — 41-b  are  shown  a  number  of 
advertisements  of  this  character  taken   from  various 


i 


^  thdarJ  truck  jxa/er  monep  in  ruburhan  JebtitiftmJ 
oikerlonghaulf  bp  Jotng  dx  worA  c/^jwerulhom  teamr 


Wf. 


use  two  nckara  tnic^  in  piano 
'ivery  anc]  olKer  Hauling  with- 
I  radius  of  twentv-nve  miles. 


Each  truck  replaces  three  horse  trucks  and 
crews,  therety  saving  $ij^a  clay 


(Uunl  trucks  are  us<d  in  Il8  linex 

d  buaneu.  TK«/  are  uU  enJuavci/  throu^ 

RicluiJ  dealen.wKo  maintain  Irud^  srrvioe 

0^  the  um*  ttanJani  as  that  exfenied 

to  owTwrsof  F^ckaid  can. 


Fic.  41. —  Example  of  hand-lettered 
magazine  advertisement. 

magazines,  and  one  can  not  fail  to  note  their  distinc- 
tion in  comparison  with  the  advertisements  which  are 
set  in  type.  Look  through  the  advertising  sections  of 
any  of  the  popular  magazines,  and  you  will  be  surprised 
at  the  .number  of  pages  in  which  the  hand-drawn  letter 

[91] 


\ 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

plays  an  important  part  —  in  most  cases  to  the  great 
improvement  of  the  advertising. 

Nor  is  the  use  of  hand-lettering  in  advertisements 
confined  to  the  magazines.    The  daily  papers  are  grad- 


ctffdb  <X<X)d9eodio 


''Sed  ITtPCbamasioi^ 


m 


Fig.  41 -a. —  Example  of  hand-lettered 
magazine  advertisement. 

ually  showing  a  greater  use  of  work  of  this  character, 
the  advertisers  who  may  be  said  to  make  their  appeal 
to  the  more  cultured  classes  being  the  leaders.  In  Figs. 
42  —  42-a  are  shown  reproductions  of  hand-lettered 
advertisements  taken  from  daily  papers,  all  of  them 
possessing  a  distinction  unattainable  by  the  use  of 
type  alone. 

[02] 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 


One  of  the  most  important  points  to  be  considered 
by  the  printer  in  the  designing  of  an  advertisement  is 
that  of  the  balance  of  the  various  groups  of  which  it  is 
composed,  and  in  this  consideration  of  balance  the  fol- 
lowing statement  plays  a  most  important  part : 


TKe  Weaver's  word  o(  honor 


ALL-WOOL 


MOORE 

PABRICS  FORMEN'S  CLOTHING 

MacU  without  Wearing  qiiality 

cotton  or  shoddy  guaranteed 


Makers  cfreliahU  ready-made  cloth 
ing  are  permitted  to  place  the  allAVDol 
Moore  button  only  m  garments 
made  of  all-wool  M0OB.E  cloths. 

Look  for  the  MoORE  button  when 
buying  suits  or  overcoats— it  is  a 
mark  of  ^uality^ 

Sutton, Button,  yvho't  got  tkt  Button? 


Fig.  41-b. —  Example  of  hand-lettered 
magazine  advertisement- 

The  heavier  the  group,  the  nearer  it  should  be  to 
the  center  of  balance. 

While  this  rule  or  principle  of  design  is  of  great 
value  in  advertisement  composition,  yet  the  printer  fre- 
quently fails  to  take  it  into  account.  Not  so  the  accom- 
plished designer.  The  latter  lays  out  his  advertise- 
ment with  a  full  appreciation  of  balance  and  harmony, 

[93I 


INTENTIONAL     SECOND  EXPOSURE 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

plays  an  important  part  —  in  most  cases  to  the  great 
improvement  of  the  advertising. 

Nor  is  the  use  of  hand-lettering  in  advertisements 
confined  to  the  magazines.    The  daily  papers  are  grad- 


l«iartii«f«M«at» 


'Sfien^Ci3a:itt?is:>iap 


Flo.  4 1 -a. —  Example  of  hand-lettered 
magazine  advertisement. 

ually  showing  a  greater  use  of  work  of  this  character, 
the  advertisers  who  may  be  said  to  make  their  appeal 
to  the  more  cultured  classes  being  the  leaders.  In  Figs. 
42  —  42-a  are  shown  reproductions  of  hand-lettered 
advertisements  taken  from  daily  papers,  all  of  them 
possessing  a  distinction  unattainable  by  the  use  of 
type  alone. 

[02] 


m^yv^  '*■  «  ^W"^ 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

One  of  the  most  important  points  to  be  considered 
by  the  printer  in  the  designing  of  an  advertisement  is 
that  of  the  balance  of  the  various  groups  of  which  it  is 
composed,  and  in  this  consideration  of  balance  the  fol- 
lowing statement  plays  a  most  important  part : 


TKcWeaveiCs  word  of  Aonor 

ALL-WOOL 

MOORE 

FABRICS  FORMEN'S  CLOTHING 

Made  without  Wearing  quality 

guaranteed 


chout 
shoddv 


cotton  or 


Makers  of  reliable  reacly-macU  dotli 
ing  are  permitted  to  place  the  all-wool 
Moore  button  only  in  garments 
made  of  all-wool  MoORE  clotKs. 

Look  for  the  MoORE  button  when 
buying  suits  or  overcoats—  it-  is  a 
mark  of  Quality. 

Outt(m,Sutton,'who'j  got  the  Button? 


Fig.  41-b. —  Example  of  hand-lettered 
magazine  advertisement. 

The  heavier  the  group,  the  nearer  it  should  be  to 
the  center  of  balance. 

While  this  rule  or  principle  of  design  is  of  great 
value  in  advertisement  composition,  yet  the  printer  fre- 
quently fails  to  take  it  into  account.  Not  so  the  accom- 
plished designer.  The  latter  lays  out  his  advertise- 
ment with  a  full  appreciation  of  balance  and  harmony, 

[93] 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

and  not  the  least  of  the  various  points  involved  under 
these  two  heads  is  the  question  of  measure  balance. 


0 


D 


MARSHALL  FIELD 
(^COMPANY 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

metal  weighing  one  pound  will,  when  placed  out  on  the 
arm  of  the  scale,  balance  a  piece  of  metal  of  much 
greater  weight,  so  will  the  small  group  of  type  or  the 


Fig.  42. —  Example  of  hand-lettered  newspaper 
advertisement. 

In  this  consideration  of  the  arrangement  of  type 
and  cuts  in  an  advertisement,  the  word  balance  is  to  be 
taken  in  a  literal  sense.     Just  as  the  small  piece  of 

[94] 


Fig.  42-a. —  Example  of  hand-lettered  newspaper  advertisement. 

[951 


INTENTIONAL     SECOND  EXPOSURE 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

and  not  the  least  of  the  various  points  involved  under 
these  two  heads  is  the  question  of  measure  balance. 


D 


D 


MAUSHAIL  FIELD 

6-COMPANY 


Fig.  42. —  Example  of  hand-lettered  newspaper 
advertisement. 

In  this  consideration  of  the  arrangement  of  type 
and  cuts  in  an  advertisement,  the  word  balance  is  to  be 
taken  in  a  literal  sense.     Just  as  the  small  piece  of 

[94] 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 

metal  weighing  one  pound  will,  when  placed  out  on  the 
arm  of  the  scale,  balance  a  piece  of  metal  of  much 
greater  weight,  so  will  the  small  group  of  type  or  the 


Fic.  42-a. —  Example  of  hand-lettered  newspaper  advertisement. 

[95] 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 

small  illustration  or  decorative  spot  balance  a  larger 
group  if  it  is  placed  at  a  point  distant  from  the  center 


\ 

ft 


t 


III  Till  l^-r*^!       ■     •     '    ■  -  ■  •    ■    Ti' 


II J   I  1  ^^v^ry^^^v^m 


■•••*-'     -1  -I  ^ 


Fig.  43. —  A  study  in  the  balancing  of  measures.     Compare  D  with 

Fig.  44. 

f96] 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 

of  balance  in  inverse  ratio  to  its  size  as  compared  with 
the  larger  group. 

The  diagram  shown  in  Fig.  43  will  make  this  more 
clear.    In  a  we  have  two  groups  of  equal  size  balanced 


itii»iiit»ini«iniBnii«nti»»ni»iiii«iiii«»'"»'' '  J,"] 


li-lrenton 

$59?  to  11990         I 


7  and  i^Jewrn 


TO  GET  A  WATCH  tli«t  wffl  l«ep  li"«  •» 
well  u  the  IngcnoU-Troiton.  you  miut  hny 
>n  Ingenoll-Trenton — or  pay  more. 

Th««  it  no  other  w»tch  »*  the  price  of 
the  IngenoU-Trenton — tS.OO  to  tl  9.00— 
which  will  keep  u  good  time.  There  is  no 
wmtch  at  any  price  that  will  keep  more  than 
a  very  maU  fraction  better  time. 

To  get  that  infinitely  amaU  fractioa  of 
accuracy  makes  your  watch  cost  ten  time* 
as  much  as  the  Ingersoll-Trenton — and  that 
■nail  fractioa  ii  not  really  of  'alue  in  the 
day's  work.  In  other  words,  an  Ingenoll- 
Trenton  at,  my  tS.OO,  is  a  good  enough 
>atch  for  anybody.  Sold  only  by  reapontibi* 
jewelers. 

ROBT.  R.  INGERSOLL  &  BRO. 
0  AtHuim  Btntsma,  Ntw  Yau 


tiiii«mt«iiii«iiitHnii»i"i«iiii»iiii«nil»iiii»iiiti 


Fig.  44. —  Compare  this  advertisement  with  the 
diagram  shown  in  D,  Fig,  43. 

on  a  spot  which  indicates  the  center  of  the  enclosing 
rectangle  or  page.    These  groups  being  of  equal  size, 


[97] 


INTENTIONAL     SECOND  EXPOSURE 


i 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 


small  illustration  or  decorative  spot  balance  a  larger 
group  if  it  is  placed  at  a  point  distant  from  the  center 


\ 


t 


....  .'    ■.    -•  ^.  •■.--. .•■^' ..  .; 


E1ZI3 


j;      II  II   11. 1  ■■!■ 


....T-    »  .-.      . 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

of  balance  in  inverse  ratio  to  its  size  as  compared  with 
the  larger  group. 

The  diagram  shown  in  Fig.  43  will  make  this  more 
clear.    In  a  we  have  two  groups  of  equal  size  balanced 


Fig.  43. —  A  study  in  the  balancing  of  measures.     Compare  D  with 

Fig.  44. 

[96] 


: 

■                               •  1  ' 

*                  1                                                                  la 

:         1        >-                       II 

1     In^ersoU  - 1  renton 

I        ^jS^  $599  to  $1999 

^^IS^^^ 

Pv«7^ 

;            m»  "-y/r^ 

w^^—-*      5>1 

WM 

7  *"«•  15  J***^ 

31       ^^^1 

TO  GET  A  WATCH  that  wffl  keep  Ume  aa 

•1       ^^^^^1 

«ell  as  the  IngeraoU-Trenton,  you  must  bay 

■n                        ^^^^^H 

an  Ingersoll-Trenton — or  pay  more. 

^^^^^H 

Ther»  is  no  other  watch  at  the  price  of 

^^^^^1 

the  Ingersoll-Trenton— 85.00  tot19.00— 

^^^^^H 

•  hich  will  keep  as  good  tiine.   There  is  no 

^^^^^H 

watch  at  any  price  that  will  keep  more  than 

^^^^^^^^1 

a  very  small  fraction  better  time. 

^^r^H 

To  get  that  infinitely  small  fraction  of 

^r         ^ 

accuracy  makes  your  watch  cost  ten  times 

^                                                     u  much  u  the  Inf^noU-Tmitan — and  that 

■Ij                                                     soull  fraction  is  not  nMj  of  value  in  the 

^                                                     daj's  work.     In  other  words,  an  Ingenoll- 

^                                                 Trenton  at,  My  t9.00,  it  »  good  enough 

■H                                                  watch  for  anybody.  Sold  only  by  retpomibl* 

—                                                        jewelers. 

■                                            ROBT.  H.  INGERSOLL  At  BRO. 

i                                                                  ta  AuuMtm  BciLSim,  N«w  Yau 

! 

= 

■'i  1 1 1 1  ■  1 1 1 1  ■  1  •  1 1  ■  i  iiiiritii«iiii»iiii»iiii«iiii«iMi«iii< 

Fig.  44. —  Compare  this  advertisement  with  the 
diagram  shown  in  D,  Fig.  43. 

on  a  spot  which  indicates  the  center  of  the  enclosing 
rectangle  or  page.    These  groups  being  of  equal  size, 

[971 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 


the  point  of  balance  between  them  will  naturally  be 
midway  on  a  line  drawn  from  the  center  of  one  of 
them  to  the  center  of  the  other. 

In  b  the  problem  is  changed.  Here  we  are  to  bal- 
ance two  groups  of  unequal  sizes,  one  of  them  being 
four  times  as  large  as  the  other.  The'  larger  group, 
being  four  times  the  size  of  the  smaller  one,  must  be 
placed,  in  order  to  attain  balance,  four  times  as  close 
to  the  point  of  balance  as  is  the  smaller  one.  We 
therefore  divide  the  line  drawn  from  center  to  center 
of  the  two  groups  into  five  parts  (the  large  group  rep- 
resenting 4  as  compared  to  the  small  group  represent- 
ing i),  and  then  give  four  parts  of  the  length  of  the 
line  to  the  small  group  and  one  part  to  the  large  one  — 
thus  giving  each  a  part  of  the  line  in  inverse  ratio  to 
its  size.  In  this  example  we  have  also  moved  the  cen- 
ter of  balance  from  the  center  of  the  page  to  a  point 
on  a  line  which  divides  the  page  into  the  proportions 
of  three  to  five,  which  were  discussed  in  a  previous 
article. 

The  tone  of  the  group  or  spot  must  also  be  taken 
into  consideration.  It  is  obvious  that  where  one  of 
the  groups  is  of  solid  black  and  the  other  is  of  half- 
tone, the  latter  must  be  twice  as  large  as  the  former 
in  order  that  they  may  be  equal  in  their  balance  or 
attraction.  This  is  illustrated  in  c,  and  its  practical 
application  is  shown  in  d,  taken  in  connection  with  the 
advertisement  reproduced  in  Fig.  44.  In  this  adver- 
tisemeht,  taken  from  a  late  magazine,  the  designer  was 
confronted  with  the  problem  of  balancing  the  heavy 

[98] 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 

spot  made  by  the  illustration  with  the  much  lighter  — 
but  larger  —  group  of  type  This  he  did  by  following 
the  principle  above  referred  to,  and  placing  the  heavier 
group  nearer  the  center  of  balance.  One  will  readily 
note  that  the  margin  between  the  cut  and  the  border 
is  considerably  greater  than  that  between  the  type  and 
border  on  the  opposite  side  of  the  advertisement. 


[991 


CHAPTER  VIII. 

AGENCY    ADVERTISEMENTS." 

JTH  the  rapid  increase  in  the  cost 
of  space  in  our  magazines  and 
journals  has  come  a  form  of  adver- 
tising variously  known  as  *'  agency 
ads/'  and  "  mail-order  ads."  When 
the  advertiser  pays  $8  and  $io  an 
agate  line  for  space  he  feels  that 
he  can  not  afford  the  generous 
white  margins  that  are  considered  so  much  a  part  of 
good  display.  He  feels  —  and  rightly,  too  —  that  he 
must  make  every  particle  of  space  count  in  the  efforts 
to  "  pull  "  enough  business  to  make  his  advertisement 
pay. 

An  inch  of  space  affords  but  little  room  for  the 
presentation  of  one's  proposition,  and  when  one  pays 
approximately  $150  for  that  inch  he  must  bend  every 
energy  to  the  task  in  his  effort  to  bring  returns  com- 
mensurate with  the  cost. 

And  so  we  have  the  "  agency  ads."  —  advertise- 
ments which  frequently  are  set  solid  in  five  and  six 
point  type,  and  in  the  setting  of  which  the  compositor 
is  compelled  to  cast  aside  all  his  preconceived  ideas  of 
artistic  display  and   arrange  his   advertisement  in   a 

fiool 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 

manner  calculated  to  use  every  particle  of  space.  It 
is  not  given  to  him  to  exercise  his  knowledge  of  typo- 
graphical design  — the  writer  who  prepares  the  copy 
does  that,  and  with  the  copy  comes  a  sketch  or  layout 
which  the  printer  is  expected  to  follow.  The  printers' 
part  in  the  preparation  of  these  advertisements  is  to 
ascertain  just  what  size  of  type  will  the  most  nearly 
fill  the  space,  without  waste,  and  then  set  it  up. 

In  Fig.  45  is  shown  an  advertisement  of  this  nature 
—  an  advertisement  in  which  the  complete  story  is 
told,  necessitating  the  use  of  exceptionally  small  type. 
The  first  problem  for  the  printer,  then,  is  to  find 
out  what  size  of  type  he  shall  use  in  order  to  get  in 
all  the  matter.     Compositors  have  different  methods 
of  ascertaining  just  how  much  space  a  given  piece  of 
copy   will   occupy   when   put   into   type.      The   great 
majority  of   them   depend   largely  upon   a  judgment 
based  on  a  wide  experience.     Perhaps  the  most  com- 
mon method  of  arriving  at  the  desired  end  is  to  set  up 
three  or  four  lines  in  the  type  which  one  thinks  will 
answer,  and  then,  by  comparing  the  average  number  of 
words  in  a  line  with  the  amount  of  copy,  determine 
whether  or  not  the  type  will  properly  fill  the  space. 
This,  however,  is  a  rule  which  can  hardly  be  followed 
in  the  agency  ads.,  inasmuch  as  the  different  shapes 
and  measures  which  are  made  necessary  by  the  run- 
ning of  the  matter  around  the  cuts  allow  of  no  stand- 
ard length  of  line.    For  this  reason  many  compositors, 
in  casting  up  agency  ads.,  base  their  calculation  upon 
the  number  of  words  in  a  square  inch  of  any  given 

[loi] 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 


This  Book  FREE 

128  Pages  of  Vital  Pointers  on 
How  to  Write  LettersThat  Win 
—Sell  Good8--G>llect  Accounts 

"How  to  Write  Letters  That  Win*'  is  simply 
128  pages  torn  from  the  every-day  experience 
of  practical  men  who  have  sold  millions  of  dol- 

I.irV  worth  of  good.*,  collected  hopelessly  over-due 
acLOuntsand  paci^cd  sore,  belligerent  customers  by 
ihc  veiy  methods  ihcy  &o  clearly  outline  here  for  you. 

FirM  of  all  thr  book  rfproduces  I«ttflT>  thai  are  faulty  tad  dearly 
an4  tprciftcally  points  out  *hrre  the  faulia  mn,  then  tl  reprodttcr*  ' 
ih;'M-  Mme  lelien  rrwritim  as  ihey  abould  be,  aad  expliiiu  (uUy  the 
(■lacm  (or  t\try  chaoge  that  hu  been  made. 

Ant  the  book  foea  even  farther  than  this  for  It  biLrea  all  the  little  tHrkt  ^ 
.ind  Fwiiis  that  ajaure  ywi  Emding  the  point  of  cootad  with  yoor  oorrrt- 
I)nndrn)-~all  ihe  ckM^y  guarded  aecm%  and  amhodi  of  putting  into  \ 
yuur  letters  the  perMoaliiy  and  the  "you"  Flfl  tkH  has  auaca  )t>u  ' 
lo  rrgard  the  succeatful  leucr-witler  u  a  bwBflOriafc 


«Aiea  frnm  tht  itipt't  ttsMlvotat.  How  to 
UM  ftiircrviicii  <n  (te«^npit«n.  EspUlniag 
Y'lut  (>.oJ»  ia  <h«ir  trUtlaa  1«  Ih*  c«a* 
loner.     The  Inpuituncc  al  i»\mt  ttuCL 

VII.  How  fo  Crvote  Dndro.  Ar- 
ffumC'Ul   una   Proof.     Tbc   dillMMrl 

wkyi  ul  pro«riii(  *  pf  pt.hiiien  In  »  lortor. 
OOcrtea  tUe  tMi.ra  priwl«(c.  S^nwtitfl  ttM 
prawmt  how  k«  «>iil  lan.  Tclliaf  tha 
nscict  how  lo  i«tl  vouv  proiltl  How  lo 
m*  rrlrrencn  In  a  latMv.  Tlw  lapefUnct 
of  itKcftiir.  KepradMiiaB  •!  a* aottal  t«t- 
tar  «hL>»i«f  good  Mt  «l  atgu^iai  aad 

V 1 1,     re  I  aw— I  a«.    TW  glStraxc  b«. 


Ckaptar 

I.    Tb«>    Pwrt    (h«  I^tt«r  Ptajm 
In   BiMlnrM.    u  hr  ih€<  tnttf  u  ibc 

mo<>t  I'nportM'it  bet  r  la  th«  tvafiMCtloa  ol 

modern  b)itiB«>w.     What  the  tMt.i«««i  nua 

cui  do  ihrouffb  <:otreipof«defte«.     The  d«- 

V«>  'ptii*nt  olthc  t>uiinr%«  l«*ler.      Ttiiiigs  a 

letT'f  •lortrhai  «ptT«<>n«lreproseiiuriv«  <,«■>- 

ao  ilo     P<'M>MUi««  luf  ntakiaf  •  lrn«t  talh. 

II.    Wbat  th«  I^(l4^r  Muat  D«-lC* 

FloittCBto  and  Conirou.    >h«w«  ih>i 

t>i-  t>ti«t»eM  ktleff  If  k'lSjfit  to»ftj>t]tis.    The 

ftiv  flesKitta  •!  «  r'OJ  mI'I  l«t'»(-     Tht  part 

e-uh  elemtnt  ptoyt       Reprodudioa  ol  a  par- 

i«tl»    h.tiaced    uIm  letter        SpetlAc  ezaNi-  _      

pin  .ho    la«  a  pooc  tale*  knw  aad  tb*  MOia    ^weea  M^jmcnt  Mid  p«raM«ioo      r«r«iud 
(ntei  ip-wtiiwa.  laa  lhio>igli  ingiailiM.     HidlNff  panua- 
alaa  ia  otMr  emaeaia  al  the  tattet.    The 


111.   Tho  Mak*-rp  of  tbo  BwteOM 

I^ltvr.    Tl>«  Imp  >runce  o(  j<vi«t  a  laMr 
proper  macbaakal  makeup.    Tl 
ihat    •  tett«v  iiMket.     Si««  aI 
vlop-  s  thtf  ihauM  ha  aaad. 
crly  kpaca  aod  attow  nwcgi 

TV.   Row  «•  •tatt  a  I<ottar-At. 

tovtton.   Hew  to  gal  away  Ihm  Iha  loe- 

mal  op»t>4aff.  How  la  ga  alfBlghl  M  yaur 
•ubtact  (•  tta  ftf«  Uaa.  Whaa  ••  •■•  iK« 
"•Ir^^ar"  lr«t  ^ragtagh.  WlaaJog  *t. 
teaitoa  with  the  word  "yoa".  Ropeoduc- 
Uon  ol  a  good  lattaff  ihM  wlaa  aticatioa. 
V.  Row  to  Aranao  IntoreoC 
The  huBwa  lirtetfat  aleaMai  la  letter 
Ht'fir  Appaaltag  la  Hia  Nader**  pat* 
waal  laiateaia  aad  arflMMihy.   How  to    c,„milaff  tha  lam  al  a  Wnm  l»  tfia  < 

.hers  ^el.^f».  ZmtOttmB  la  Mga.     Makhig  H  dew  what 

VT.    Hoir  <o  HolJ  lalai gat  «h«  praaptct  H  to  do.  awl  what  he  win  t*- 

l':inlan«tlan.    How  m  tie*  iha  cclvc  tM  M»  aiaaey.     How  tn  «m  acoopoa. 

r«*drr  •   aieatal   pKiata  ol  your  flew  to  oac  aa  abaohrtt  giia»awtoa  hl«ah. 

product.   I.oeklac  at  yaat  gfapa>  RcpfodacSiea  al  a  gooe  MMW-ag  laitar  aad 


iJrKSl^^t^    appea'law  ic 
vma  as  a  Mnav.       ,^  g.,^  |„ 


toedt  will  faetaf.     fen«adia«  by 

lo    acU-iatercau    Actual    tepro- 

;K«r  replr  to  aa  laqulry  aad 

Iflfer  TewHitra  thowisf  aa  ap< 

peal  to  penoaal  laieicai. 

IX.  iBdnooBieat.  C'viag  the  proa- 
petrt  a  reatoa  lor  answcikag  yooe  iMter. 
Oppottii^r  tor  fa:a.  Uaiiltai  the  pertod 
el  aa  99tt  or  tha  auaaliiv  w4  gaada  ahlala* 
able,  lovortsac*  al  aiifciag  todacaaaaal 
gcitulae.  Maklnf  the  ladocaOMat  aaar  la 
taka  held  of.  Rrptedaettao  a<  aa  acival 
kttar  ahawtag  gaod  aaa  al  ladacaaiaat. 

X.  ■■MaMiT  tm^  CBmai.   Cea- 

tha  lafct  al  a  Mut  l»  Hia  Ikaal 


tha  I 

ftapeai  ■ctlaa  9l  a  aaad"la<iar  ■■!■■«■«  haw  _ 
a  pewpfd  «ay  ha  If4  t^m  m  lo—lagil 
■laiiwii  whh  arfilch  ha  agMa*  w  MM  tag- 1 
lag  palal  at  the  claaa  al  a  MMV.  ' 

XI.  Nowa  V»h>«.  How  to  fl««  a  leiae*  1 
a«w«  value.    C<«iaf  a  pwblie  topk  a  ulea  ap-  I 

tl'cattoa.  Putliav  trade  wewt  laio  Icnan.  1 
naaiac trade  hr  irmiifg  tta  puipart'a  la*  \ 
leraM  la  year  work. 
XU.  ragooBaHty.  a  law  e 
petaaoaliiv— aa  gaittnc  oa  cetaiw 
Willi  your  raadff.  Talhin*  la  tba  i 
h(a  awa  worda.  Samat  r*'*'  lettae  M  tha  cUaa  \ 
yea.  writ*  le. 

XII.  Tha  **To«**  EInaoat.  a  c— iplen 

aad  viiallr  hagartat  ehaptat  aa  uiklac  to  a 
pr.<»pc<.l  ahaaa  hiitU  »ad  hk  eeed..  t'se 
ol  the  weed  "yaa".  Shawlof  the  peaarea 
thatyeiitiaka  aa  loiaiiw  U  bit  agaira.  Ito* 
gcadbcaao  al  tww  laHffvt. 

XIV.  OaOoctloa  Coriea»oo4— ««o. 

Ceilacdag  caauaefdal  acceaata  by  let'te.  | 
CoilecUac  laaiaUawM  accawaai  hy  letter. 
firtUag  tela  vahta  tela  a  caUacHoa  bnef. 
Whaa  larai  laaar  BMy  ha  aaad.  Reuia- 
lot  a  dahMr*a  goed-wnt.  Claiaflriai  la- 
aMhaaad  aahlaet.  Whc«  letal  procedure'  ' 
a  taatlhad.  Gletag  a  <a«h  up  tn'4u(en»eac. 
Repredactlao  al  a  food  colieciiou  letier. 

XV.  Baw  to   Acawer  Coaa*  , 

ealnta.    CaWag   tb*   rght  attitude   (• 
ndl  Bf  eeaiglalniL     Ttklsff  coa»pUiat>  j 
lerlotMly.      laiportaaca   el   aaaweriag 
oMapUhrta  peoMpOv-      Tahlag  tha      " 
cwat*n>er'a  vlewpnlaC.     Coacadliti 
tha  hi«t)c*  el  comptalata-     Ka^ 
production    «l  ••  actual  ceaa*  . 
pl*iiil  leftrr  Witt'  a  9 


f  It  and  a  r'^od  reply  lo  tt.^ 


How  you  can  secure  a  copy  FREE 


The  wiy  to  r*f  a  ropy  ot  il  ii  book,  "Hew  to  WHtc  Lctteri  That  Win.*"  a'-»o4iit»ly  I 
i;>four<i  SYSTEM,  which  «l>ad*  tr'-fWa^t  the  Moathlv  Mayac  m  ol  fcit.'.e^v. 
gM  to  354  pare*  ia   every  ia-ue  ol  SYSTHM.  aad  yaa  caaaot  aford  lo  tntw  a 
iii*^le  page  ol  It     Fue  SYSTEM  oill  th»>  y<m  hew  le  accoaM>li>^  aaorr-bo* 
to  naakc  more  la  yuw  pretenl  dttly  work. 

Aa  an  latradactoty  oSer  w*  have  decided  to  gtv*  away  tfe  ^r^i  spccUl 
ediiK>n  otiMa  aplaadM  hook.   t»  pa«aa,  tim  SitH  ">chra. 
pnaied  op  sMooth  haU  hoah  pap»e.  he«nd  m  handtoma 
vtikai  wHh  ceeer  la  lew  celan,  ahaahrtrly  liec.  «i-hU 
arw  or  rtMwal  tubactipHaa  ta  SYSTEM.    SiaM>ty 
««ad  U  wMh  A*  cMip««  'or  |».9a  il  the  auga- 
stae  K  tota  aant  !•      Caaadiao  addreatj. 
The  booK  wUI  CO  lorwerd  iMaiedtatcly 
~  'Kartly   packed— all   traaspor- 
lOae    ch*rvpf    prepil>l.    aad 
IM  will  enter  y^iir  nam*        ^^^^^^ 

iMaiill  vratka  U        ^^!^F'      "*■** 
tcrlrlion    t 
SYSTEM. 


Co 

^eaae  aawd 
SVSTKM..o« 

htli    yean    •**• 
lerward,  allcharflea 


H   •    to  WriM 
ten    That  Wla".     It  la 
di<tincilv  otMaeMoad   thel 
not  MMra  ihaa  ■atta- 
Ifii  w<th  f h*  ho<vk  aad  the  ar«i 
copy    ol  the    au^J^nc.    1    have 
niii.piy  to   eettl>    you    wlth>a    A*e 
dayfc  4flcr  their  leccipt  aad  yen  w-|i 
caacel    the    tabecripdea    aad  takad 
every  pean>  0I  ny  aiaaer.  ^1 


Umi  to  SYSTEM.  ISMU  Watack  A**..  Cliica*i 


Fig.    45. —  A   typical   *'  agency  ad.,"   in  which  the   whole   story  is 
told,  necessitating  small  type. 

[102] 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 

type.  This,  of  course,  has  its  drawbacks  because  of 
the  difference  in  the  lengths  of  words  and  the  variation 
m  the  type —  some  faces  being  fat  and  some  lean. 
One  may,  however,  by  taking  a  table  showing  the  num- 


'^"^^"^•^^-  NO.  OF  WORDS. 

i8-point  solid   

14-point  solid  J  J 

i2-point  solid  

i2-point  leaded j  j 

I i-point  solid  

I  i-point  leaded    j 

lo-point  solid  

lo-point  leaded    j^ 

9-point  solid   ,o 

20 

9-point  leaded    ^, 

_       ,  ^1 

8-point  solid  ,_ 

_      ,  j^ 

«-point  leaded    __ 

7-point  solid  ,o 

jO 

7-point  leaded    -^ 

6-point  solid  ^ 

4/ 

6-point  leaded    , . 

34 

5-point  solid  ^ 

5-point  leaded    -_ 

I'iG.  46.— Table  showing  approximately  the  number  of  words 
in  a  square  inch  of  various  sizes  of  type. 

a 

ber  of  words  in  a  square  inch  of  type  of  standard 
measure,  and  then  allowing  for  whether  his  own  type 
is  condensed  or  extended,  judge  fairly  accurately  as  to 
how  it  will  come  out.  Or,  better  still,  one  may  ascer- 
tain with  but  little  trouble  the  average  number  of  words 
in  a  square  inch  of  the  various  type-faces  and  sizes  in 

U03] 


INTENTIONAL     SECOND  EXPOSURE 


THE   TYPOGRAPHY   OF  ADVERTISEMENTS 


This  Book  FREE 

128  Pages  of  Vital  Pointers  on 
How  to  Write  LettersThat  Win 
—Sell  Goods— Collect  Accounts 

"How  to  Write  Letters  That  Win"  is  simply 
128  pages  torn  from  the  e very-day  experience 
of  practical  men  who  have  sold  millions  of  dol- 
lars' ttorlh  of  good?,  collcilcd  hopelessly  over-due 
aonunlsand  pacified  sore,  belligerent  cuMomers by 
the  veiy  methods  they  so  clearly  outline  here  for  you. 

Fir«  of  all  Ihr  book  rrproducM  l«tm  Ihal  »rc  Uu\tj  ud  drmHy  '  , 
an.)  Ji^-cilicilly  lx>ml»  oul  .hrrc  Iht  Uulli  .«.  IJ«B  M  reprodiKfJ    , 
ih>-*  «mf  l«im  rr»rilirn  »  ihryihould  b»,  uri  opUus  (uUy  tht 
,  ca»oii  lor  every  chuf  e  lh«t  hai  btro  rnvu. 

And  Ihe  book  loei  ««o  hrthtr  Uun  IhU  for  it  b«rM  ill  tSt  lillle  mtk.  ^ 
and  twists  ihsl  wure  you  tndiiM  the  polm  ot  contsct  wiHi  yoor  corrn- 
pondnii— all  the  ck»«5y  iu.rd«l  ltcr««  and  iMlhods  of  P""_'»«,'»;»J 
your  iclim  the  pcTSOoallly  and  Ihe  "you'  rtrmal  that  bu  c»Ui*l  you 
10  rrjard  the  succtiiful  leiierwiitei  u  a  bora  icmuv 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 


Otepur 
1.    Th«   P«rt   th«  1a»tt*r  Play* 

In     BuitDrM.      Why    lh<f    Mtrr    It  Ih« 

modem  bMi*--^.  What  ihc  bwa.H*«t  m»B 
can  «to  ihfwufli  cwr»%eof»d«ic«.  Th«  ••• 
*ei  [>m-ni  ol  )h«  tutinnt  Iviter  Thii>SK  * 
lr»t-f  viof  »th»i  ip«f»  'r>alfron>..»Bl4'i''««»l>- 
n^j    i..     P  %tt»»li.«  l"f  tu»k.iif  *  ktt»f  t»lk- 

II.  WhM  th#  I^ttfT  Mutt  Do-lto 
|-:i«ni»nl«  and  fonlrnU.  >.h«w«t*t»t 
111-  Uiitne*!  l*\\ti  i%ui'c<^^i  »«>»ii»'»>  Th« 
»it  Plewfit*  el  «  r-*!  •*'»'  l«*ti»r.  TM  vwt 
•.Kh  ♦kment  i>l»Y«  l»*pte«iu<iioii  o*  i  pur- 
l*cilv  ^ll«TK«d  MlM  Irttrt.  Sp^ilAi  '■»«• 
^W  sho  Inif  «  pout  uie*  tanu  ftwl  tb«  Max 
iMirf  IF  wTitI«n. 

III.  Th«  Mak^rp  of  tiM  BttilnMa 

l^ftrr.  Tl'«  lmp.ft*B«  ol  J'^mf  •  lencf 
propcimtctwakalit^^keup.  Th«  tiii»rrtMO« 
ilut  ft  li^tT  Biak*^  Siw  n|  pBpn  uid  »■- 
«'lop<  •  thkt  •hoiit'1  bt  ti«c<l.  How  1«  p«i)p- 
crfy  HMt«  "nd  •Uow  BMrsiM  on  •  *-"— 


•AioB  Irom  lh*  u^r.'l  •TKHdpoial.  Ho*  to 
ui€  si:rgr\ii.>ii  in  rtfkvrfkHi.  KipUtnmf 
y.ut  i^cta  !■  thff  rrtoiio*  to  th«  cuV 
loRwr.      Th«  Unpy :t*in*  e4  brlB«  *««». 

VII.  Hnw  to  rr*«t«  l>r«lr».  Ajr; 
Vumvut   fiD«l   Pro<»f      1b«   *»«?•■« 

(tavA  -I  r'ovlaf  I  [in  [»i.mio«  In  ■  lottt*. 
C»«»riDt  ""■'«"»•  P"*''*!*'  S»"'"'"t»|« 
pt(4(t«Hi  how  b*  »ill  f*»«.  Telltof  »l»« 
rtkdrt  how  lo  \tU  irotr  piortuct.  How  to 
VM  .»l*TencM  tn  «  t«'t«.  Th*  iBiportanct 
oltlw.«'ritr.  ll#p.o<tuct*o«olw»c<>*»li»«; 
Mr  »ha»t(k«   good    uM    ol   wtuaMnt  ud 

^n.'   P»r— rtaw     TktdifefMi.ebt- 

^wpck  MfjinMl  omI  pOf««o<to«  P*rvu*v 
iBt  thro-.Mfc  W«|M*i«*-  HKlt«t  !>«*"•• 
•ion  iu  «Ti«  •(«»»«<•  •!  tb#  *•'!•'  T»»« 
Ri.Ai4kc  «l  awBinliiv  M  lti|i*r«l  •«itud». 
Sugaei-tint  t»Mi  Mt.".!*!!!©*  ih»t  po«»eM*».« 
ol  vaur  coodi  win  Wmg,  Prrwadiat  by 
appos'lag  to  Wl-iatpw*.  Ai:tu«l  i»pro_ 
du.:t!oB  c4  ■  (wtat  tffi»'»  »  »a  inqxitr  »na 
tlM  awke  !«««  rt  wrltua  tbowtag  ••  ap- 


IV.    How   to   Otart  a  I-atUT-At-    pcalto  »moaal  iatc*c*t. 


t«l»t|nn.    Hww  to  frt  away  bom  Ito  lor- 

mal  ■  pr»«nt-     How  lo  fo  nraiglrt  M  youf 

»ubi*rt  ta  tb«  ftnt  tiac.    Whta  M  aM  th* 

* MiiBTty-  ftnt  lUraarvfc-    Wi«a*ai»t. 

i»«t.oa  with  tlw  word  "y«l".    Rwfe*K- 

lion  el  a  good  MtM  that   vtaa  attcaTiaa. 

V.    How   to   ArouM    Intarrat. 

Th«  h'lmaa   inteiMi  «><BMt  tn  l«t«f 

writnf.  Apf>e«l>nfl  to  th«  raader*!  p*?- 

tOMl  iai«f»«t  aad  »>  lopatky.    How  (» 

.■,r*   ceafWlaac*       AfoWMg  tach* 


IX.    Indnconent 

prcl  a  Kisoa  lof  atk 
OapofMatfy  lor  gaia. 
aTaa  ••«  w  itia  omh 


the  tanw  Wnm  rr-wilttaa  ttMvWf  wga-  , 
mrnta  tua)ai«>md  aad  aa  argvat  claar. 
RrpKMa  ritenol  •  foo«*  Uttet  ahovlag  how  L 
a  fVA^pKi    awv   h«  ted  Ikm  *«  OMaiagl  ^ 
•Miofaaar  wkk  wbtBll  ha  agiOM  w  »•  b« 
lag  »«lai  at  tkt  ctaat  «t  a  IMW*. 
XI.    NMWValM.    Hao  ta  tlyt  a  !••"  I 
aowa  vakM.    GtvMC  a  gHbUo  wok^  ■  u>m  ap-  ^ 
al.caiiao.    falag  Mda  a««t   lata   Ittir- 
W.naiaff  Mda  to  ■■miiHg  tba  ptosaact  • 
tnaM  ta  mar  wan. 

XU.    rMnOBAlHr.    A  loag  ckapwr 
prtMn«l><> — on    gciii"C    oa    cotamea  gr« 
w.ih  »o«»  feartef.     Talktna  to  <ha  p»i*pai 
hu  ow«  .ofte.   Su.tiug  ri-ar  Wttvt  M  tfct  cUm  ^ 
yow  writ*  lo.  ] 

XU.    Tlfco  "Yon"  Eli^Monf.  Acoaneirta  ■! 

■«d  vtully  Importaal  rhapter  an  Ulking  <•  a        ^- 
pr.<apc(l  about  bliBMil  and  tift  >i«ad<.    V«« 
oltttrworri    "you"'.    Mia ■  tag  ifca  »wi»tt 
lltal  y<*u  IMO  ko  lnt«(V«  la  MB  •taiN>    >•* 
pioducUoa  ol  two  trtim. 

XIV.    Collacllogi  Cuilli»»«iiW>». 

Coilactiag  caaMMffdal  accaaaM  fev  Ivtw. 


iMtncoment.   C»la»  ifct^r»t.    Coi»»ctteg  laggww  ya^to  Wt.*^. 


■)  al   loMrtn.    "Hllttag  tte  nadar    prwct  to   ordrr 
where  htli"**."  BMaMhIag  *•  Mga. 


, Ua>Mag  Uta  ptriad 

auaaUty  <l  gaada  atiiafci 
awa.  loyBrrapct  •!  Makiaf  la*irtB«l 
genaiaa.    HakUg  tha  ladMcti<a«  aMy  ta 

lahc  bo:d  ol     PlrptadacctM  at  aa  »<t«uJ 
k  t«r  ihoaing  good  a*!  •«  la«hK»ro«Bt. 

Bammary  antf  CHaux.    Cea- 

le  lof «    '      '  ' "  " 

How  • 


lac  a  dob 

■iaiiaiai  < 


CUMiiytag  *a-. 
ikteea.      Whea  legal  bfocadufa 

_  ^ Giving  a  laah  up  twrtiK  e««  faii 

KcprodBCttoa  ol  a  good  coilacitoa  Ivnar. 

XV.    Hew  to  Aoiwor  Coat-j 


Vt.    How  to  Hokl  !■>■>■■* 

l-lmlanatlon.  How  to  givt  IM 
lea^rr  a  mental  pictma  ol  foar 
ptodu't.   Looklagai  roHrpr«pa> 


maka  11  easy  lof 

Ctvlag   the    prevypeci 

iMBMhlaff  to  Mga.     Makiag  It  cltae  •h»i 

tta  piwpicl  H  M  da.  aad  «*hal  ht  wlU  ta- 


pUlDta. 


How  you  can  secure  a  copy  FREE 


Cen<a«   tba   r>ght  tttttode    I- 
Rdl  Rg  coatpUlnli.      Taktag  coiapUial< 
•eriouahr.      Iiapotaaca   el   amwtrlag 
coaaplalats   proMptlv.       Taking  tlM 
CMWO(i.er'»   »*ewprt4n«.     Coace«li. 
tha  h)»t>ca   el  complataU.      R« 
peadocttea   9i  "a  actual  co»* 
ptoMHlotmwi*^  ayoorrvpip  J 
•e  II  aad  a  good  icply  lo  K. 


The  w.y  10  g*«  •  ropy  ot  tiii  book.  "Haw  lo  Wf«.  teWM  Tfwt  w *»."  •^^^^  »!* 
i.fiHif'i  SV5TEM.  which  M.i»d»  cf'-«tBeat  iKt  MontiiS  Ma^.r  »•  o*  ■«».'.n.k. 
>»  to  IW  oace«  m   evrrv   ii^e  e(  SYSTkM.  aad  »aa  cannM  aforl  to  i«.« 
ain^tf  i«ge  ol  H    F^sVSThM  •tll»h..w  yfm  how  le  acco»pi.*a  oiote-ho- 
to  make  moro  In  your  ptew^nt  rt.Uy  work. 

S  an  Introdutrtiey  oiler  «e  ba»e  rlec  dcd  V>  gl^a  awiy  l^r  «rM  apwrUl 
•dit.on    ol  tbi*    apIeaflH    t«»k.    la    P»Z**.    •'«o    SiTH    inches. 
pr^ot-^  oa   -imooth  ftaUh    N>ok   paper,   brand  In  hanifcaa  ' 
vettum  with  corei  In  loar  tolart.  ahoolotrly  fcee.  •t-h^ 
arw  or  rra«-a1  tubactiptioa  to  M  STEM.    S.ia«»lr 
wnd  if  wMft  tW  coapoa  <of  |2.^  »'  «»•  wga- 
jine  t»  tobt  af^t  to      C»aa<1t»a  nWr***). 
Tb(?  bfJoK  Will  go  forward  ttomad^Aiely 
--a*>ti(*)ir    pacUfd-all   tr»a-.p<»« 
loa   eS*fge«  prei»il>i.    aaj 
«•  wiU  ciiiar  your  nam« 
Isf  alill  ye«>'» 
•  crlrtitxi   ' 
SYSTEM 


SY5Tl.M.-ae 

hll    rnii    ••» 

..jward.  ailtharga* 

fwepafi.  aa«  to^  «* 

H  •   lo  Wftia   !  *» 

ten     That   Win".      It    ^ 

dMint^llv   undantoad   that 

M  I  am  net  aM>«  thaa  tif**^ 

rd  wrth  tk«  be/»k  aad  tta  Aef 

c«tor  *>*  *l^*    aMgaslae.    I    have 

•..ply  »o  aaUfy    yoa    wllb*a   ^-e 

dayt  altar  their  leccipl  aad  »•"•'' 

eince'     the     MbatJ^fioa    and    •••"•^ 

rery  p»an>  «1  "T  aioaty.  »> 


type.  This,  of  course,  has  its  drawbacks  because  of 
the  difference  in  the  lengths  of  words  and  the  variation 
in  the  type  —  some  faces  being  fat  and  some  lean. 
One  may,  however,  by  taking  a  table  showing  the  num- 


SIZE  OF  TYPE. 

NO.  OF  WORDS 

i8-point 

solid   

7 

14-point 

solid  

■••• •     / 

II 

i2-point 

solid  

14 

i2-point 

leaded    

*t 

II 

1 1 -point 

solid  

17 

1 1 -point 

leaded    

14 

lo-point 

solid   

21 

lo-point 

leaded    

16 

9-point 

solid   

28 

9-point 

leaded    

21 

8-point 

solid   

32 

8-point 

leaded    

23 

7-point 

solid  

38 

7-point 

leaded    

27 

6-point 

solid   

47 

6-point  leaded    

34 

5-point 

solid  

69 

5-point 

leaded    

50 

Fig.  46.- 


S..>d  t*  SYSTEM.  J»MM  W.W.k  A~..  CIdua* 


Fig.  45- —  • 


\   typical   **  agency  ad.,"   in  which  the  whole   story  is 
told,  necessitating  small  type. 

[102I 


Table  showing 
in  a  square  inc 


approximately  the   number  of  words 
h  of  various  sizes  of  type. 


ber  of  words  in  a  square  inch  of  type  of  standard 
measure,  and  then  allowing  for  whether  his  own  type 
is  condensed  or  extended,  judge  fairly  accurately  as  to 
how  it  will  come  out.  Or,  better  still,  one  may  ascer- 
tain with  but  little  trouble  the  average  number  of  words 
in  a  square  inch  of  the  various  type-faces  and  sizes  in 

[1031 


•^""g" 


THE  TYPOGRAPHY   OF  ADVERTISEMENTS 


i 
I' 


Just  a 
Few  Uses 
forKeepdry 


Surely,    somewhere    between 

InIU  and  ten-ton  turbines,  your 

product  will  be  found. 


l.-U..-..--. 


:*ft. 


For  CAM  buac,  Ke«pdry 
is  klc»l.  It  is  c\rn  replai  ing 
zinc   in    many   factorirs  —  it 
gives  e<]ual  protrclion  at  a  mere 
fraction  of  tlic  cost  for  frei;'lit- 
uriKlit   and  alTords  an    innnite 
saving  in  packing  expense. 
For  wrappinf  ozport  •kipmoat*. 
Kec^xlry  is  the  most  dejienilalile  and 
l<v  far  the  most  economical  rovcring 
made.    It  guards  perfecily  against  the 
fiercest  weather  and  roughest  handling 
encountered  on    the  many   mediums  ol 
foreign  transportation. 
For  covoriat  flot-car  alupmoBU,  Keepdry 
is  belter  than  tarpaulin  and   because  of  its 
small  cost,  saves  the  bother  and  loss  of  re- 
turn shipments. 

For   wrappnc  "^  "^  awkwardly  aliapad 
good* — ami  pans  you  cannot    put  in   standard 
packages— Krepdry   can   be   cut   into  strips  and 
wound    ill   any  way  without   tearing,  breaking  or 
lessening  its  protective  qualities. 
For  wrappiM  "  eoToruif  macktaary,  tool.s,  imple- 
nionis,  all  mejal  goods  which  rust  when  damp;  dry 
g(K)i|s  and  textiles;  leather  clothiiig;  millinery,  feathers, 
ami  (ur»;cheniicals,drugsanddclinues>ent  materials;  Uwks 
anil  stationer)-;  cigars  and  lobao  o;  furniture;  for  every 
jiioiluct,  for  every  u  c.  Keepdry  gives  absolute  protection. 

KEEPDRY  on  Your  Product 

» lU  nw-.m  l»tur  wrjpl""*  l'"'li«'«"'''^*»  >**"  **-'^*'^'^<^ 
vnl  .wl  Mor. — |>.iika|Er»alHH>luicly  »alcrj-rw<(ji*J 
(Itri  iiinof.  And  it  in«.itis  rtufiotnv  (*>r  il  iiv-arcs 
!w(t  'Will rfK-»..!«l  ihr end  Ul>.s;  and 'Umigvt l.»im». 

SotkI  for  ThM«  FRfX  S*mpl«s 

It  I-.  »as>  to  karn  jusl  how  K("fiidry  Mill  >.ti.r  >i»l. 
>tni]'l>  «iitr  l4Hluy  on  >our  IcItcrtH-Ml.  \\r  «ill  ^ 
Miu]  IiImi^  iiiini4rtt  c4  ail  gt^Ar-i.  ol  krrtotiy  and 
ex.  it  tnlormjlmo  lo  show  you  llw  v^lur  ol  kcri«lry 
u>  >•«!  Ill  >^Mir  >tiiH«ng.  Oruinly  you  «ill  M  Irasl 
in\c>iijiHc— gri  iHr  wim[4«»      Wnic  lUe  ktiw  now. 

ANGIER  MILLS, 
ISCAnciarRomd.       Quincy.Maaa. 


No  more  conclusive  evi<lence  of  Keepdry's  wrsatility 
could  possihlv  1«  offered  than  Ihestf  tv»-o  remarkable 
photoRraphs.   The  J.  C.  Aver  Company  wraps  boxes  • 
of  liny  pills  in  Keeudry  and  sends  them  up  the 
Yukon  and  down  tfle  Nile,  and  they  reach  their 
buyers  perfectly  protected  an.'  preserved. 
The  General  Electric  Company  acts  a  giaitt 
crated  turbine  engine  on  a  flat  car,  covers  it 
with  Keepdry  and  sends  it  across  the  conti- 
nent.    And    though  it  run   through  floods 
and  under  driving  rains,  it  reaches  its  des- 
tination with  every  part  as   bright   and 
clean  and  free  from  rust  a»  when  it  left 
the  factory.    Foe 


KEEPDRY 

Wreppinc  ud  Cate  Lining 

b  to  sirong  and  touch  ih^l  il  U  abto-  • 
Uitrly  unjflrttcd  by  Wiicr,  dttsl.  dirt 
or  any  othrr  outside  inHiirncr.     Vet 
it  u  K>  i>lUUc  tluf  you  am  wrap 
iny  )irodu>.i  ci  amy  iisc  or  ihspc 
to  il  a  eatity  as  yoK  couU  wrap 
It  in  |Mprr — :iad  il  costs  but  lit- 
tle mnrr.     You  ran  fold.  i«i»t 
or  wind  il  — sod  il  will  not 
trar.  bfrA.  trstk.    or   ncik 
Il  u  in.idc  of    Moul    (tu|irr 
iin[vr\iuusly  waicrproolH. 
Il  is  matff  mainprvtd 
jin<lil  ilayt'mAtriproat. 
ho«ir\rr.  «bcrc«cr  yuu 
we  it 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 

his  oflfice.  In  this  connection  the  table  shown  in  Fig. 
46,  which  shows  approximately  how  many  words  are 
contained  in  a  square  inch  when  set  in  body  type  of 

AREAS  OF  CIRCLES  IN  SQUARE  INCHES. 


DUMETBR 

IN  Eighth 

Diameter  in  Even  Inches. 

Inches. 

1 

2 

3 

i 

5 

6 

7 

8 

9 

10 

0 

s 

H 
H 
H 

.7854 
.9940 
1.227 
1.484 
1.767 
2.073 
2.405 
2.761 

3.1416 

3.546 

3.976 

4.430 

4.908 

5.441 

5.939 

6.491 

7.068 
7.669 
8.295 
8.946 
9.621 
10.32 
11.04 
11.79 

12.56 
13.36 
14.18 
15.03 
15.90 
16.80 
17.72 
18.66 

19.63 
20.62 
21.64 
22.69 
23.75 
24.85 
25.96 
27.10 

28.27 
29.46 
30.67 
31.91 
33.18 
34.47 
35.78 
37.12 

38.48 
39.87 
41.28 
42.71 
44.17 
45.66 
47.17 
48.70 

50.26 
51.84 
53.45 
55.08 
56.74 
58.42 
60.13 
61.86 

63.61 
65.39 
67.20 
69.02 
70.88 
72.75 
74.66 
76.58 

78.54 
80.51 
82.51 
84.54 
86.59 
88.66 
90.76 
92  88 

AREAS  OF  CIRCLES  IN  SQUARE  PICAS. 


DlAUETIR 

IN  Eighth 

Diameter  in  Even  Inches. 

Inches. 

1 

2 

3 

4 

5 

6 

7 

8 

9 

10 

0 
H 

H 

H 
H 
H 

28 
36 
44 
53 
64 
75 
87 
99 

113 
128 
143 
160 
177 
196 
214 
237 

255 
276 
299 
324 
346 
.372 
397 
407 

452 
481 
511 
541 
572 
605 
638 
672 

750 
743 
779 
816 
855 
895 
935 
976 

1,020 
1,060 
1,104 
1,149 
1,194 
1,240 
1,288 
1,336 

1,385 
1,435 
1,485 
1,537 
1,580 
1,634 
1,698 
1,754 

1,818 
1.867 
1,925 
1,985 
2,042 
2,105 
2,170 
2,228 

2,290 
2.368 
2.420 
2,485 
2,552 
2,620 
2,690 
2.758 

2.830 
2,900 
2,970 
3,044 
3.118 
3,195 
3,268 
3.345 

Fjg.  47. —  Where  the  groups  of  type  are  irregular  in  shape  it  is 
much  more  difficult  to  "  cast  up  "  the  advertisement. 

[104] 


Fig.  48. —  Tables  showing  the  number  of  square   inches  and  the  number 
of  square  picas  in  circles  of  given  sizes. 


standard  measure,  in  sizes  from  five-point  to  eighteen- 
point,  and  both  solid  and  leaded,  will  be  of  interest. 

With  a  table  of  this  kind  at  hand,  and  keeping  in 
mind  that  in  a  square  inch  of  type  there  are  36  square 

[105] 


INTENTIONAL     SECOND  EXPOSURE 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 


■!iiSS!h5mS 


tsa 


ni 
IIIMM 

siiila 

IHMMI 


Just  a 
Few  Vtes 
forKeepdry^ 


NnHli 
mil 


iHii 


Extremes 

of 

Service 


Surely,    somewhere    between 
pills  and  ten-ton  turbines,  your 
product  will  be  found. 

No  more  conc1u>i%e  rvklcnce  o(  Keepdr)'*  wrsatilily 
coukl  pos»il)lv  1«  olIrreH  ihan  lh»s<f  two  rfm»rl,»l)le 
nholoRraplis.   The  J.  C.  Ayrr  Company  «r»pi  boxes 
i  linv  pills  in   Ketijlrv  ani   sends  them  up  the 
Yukon  an<l  clown  lie  Nile,  and  they  reach  their 
liuyers  perfeiily  protected  ano  preserved. 
The  General  F.lectric   Company   lets  a  giant 
craleil  turbine  engine  on  a  flat  car,  covers  it 
with  Kcepdry  and  sends  it  across  the  conti- 
nent.    And    though  it  run   through  flooils 
and  under  driving  rains,  it  reaches  its  des- 
tination viiih  every  part  as   br^ht   and 
clean  and  free  from  rust  as  when  it  left 
the  factory.    For 

KEEPDRY 

Wrappinc  and  Cile  Lining 

is  «o  ttrunf  and  loufh  Ihjtt  it  is  abii>- 

lulrly  uiuflcil«j  by  waler,  dust.  An 

ur  .inv  olhrr  tnitside  inllueocf .     Vrt 

il  i>  >o  iJiiUt  itui  )'W  i-m  ""■'1' 

any  |>ru^u^t  oi  j»y  ixtx  or  shap« 

io  II  a^  easily  at  you  couU  wrap 

it  in  (kiper — and  it  C4»ta  twit  lii 

lie  mole.    You  ran  futd,  t*i>l 

or  wioH  il  —  and  il  wtU  nol 

tear,  break,  cratk    or  jtr.ilr 

It  is  made  ol    slout   Ht"-r 

inivrvtously  walerprofjrtt 

it  i*  m^tite  walerprctt 

anilil  ir«Tf  waterproof. 

lM)«e«er.  »bcfe«er  you 

wcit 


For  caaa  Kmnc.  Keepdry 

i-.  irlral.   It  is  even  replai  iiig 

/inc   in    many   factories  —  it 

gives  e<|ual  protection  at  a  mere 

fraction  of  the  cost  for  frei;.'ht 

weight    and  affords  an    infmite 

saving  in  packing  expense. 

For  wrapping  export  ahipmaata. 

Kcr;Klry  is  the  mojt  dependable  and 

Ijv  far  the  most  economical  covering 

niade.    Il  guards  perfectly  against  the 

firr.  est  weather  and  roughest  handling 

encounlereil  on    the  many   mediums  of 

foreign  transportation. 

For  coToriag  flat-car  aUpniMita, Keepdry 

is  belter  than  tarpaulin  and   because  of  its 

small  cost,  saves  the  bother  and   loss  of  re 

turn  shipments. 

For   wrapping   odd  and  awkwardlr  ahapod 

geoda—and  pans  you  cannot    put  in   standard 

pai  kages — Keepdry   can    frf   cut   into   strips  and 

wouiul    ill   any   way   without   tearing,  breaking  or 

les-ening  its  protective  cjualities. 

For  wrapping  or  covering  inatliinTy,  tools,  imple- 

niciii.s,  all  mcjal  goods  which  rust  when  damp;  dry 

gno  Is  and  textiles;  leather  clothing,  millinery,  feathers, 

aii'l  Iuts;chemital.s,drugsanddeli<iues(entniaierial3,liooks 

and  siJtiorier)-;  cigars  and   lobac  o;  furniture;  for  every 

piixluii,  for  every  u  c.  Kceixlry  gi\es  ab^u;utc  protection. 

KEEPDRY  on  Your  Product 

«  ill  itn-.m  IjTlUr  mrjcpc^l  patkaBf* than  yw  h.i\fnfT 
h  HI  iwl  Muri — |wtkjKC3*.i|j.s.rfuUly  »alrri'ru«<(.i«J 
tjiii  \>%f»t4.  .\ii(l  It  ni«.iiis  rimioinv  (nr  il  in>urrs 
3..il(  .Miictiis  ..fid  (Ik end  (Jl.f^^  ..ikI  .Um.igv  lUimi. 
S«nd  for  Th«««  FREE  SamplM 

II  IN  i  j>j   Ui  liarn  juM  how  KtTi»iry  will  mTm-  >»>u. 
Sii>i|'h    wttte  Uxluy   on   >our  Irttcrluriul.     Wr  »iU  ^ 
M-fitl  lilitral  "MmitU-ft  of  all  grades  ol  krri"liv  and 
f  K.  1 1  inUKtnjtinn  to  ahow  you  ihc  vjuc of  K«i>dry 

III  MMj  1)1  your  <Jii[>|«i)g.     Lntainly  you  «ill  al  Sc^iA 
in\c»tittuU — ji<*l  Ihc  ^mp)«.     Wrilr  tbc  Ittlcr  now. 

ANGIER  MltXS, 
I  eo  Angior  RomI.       Quincr.  Mm*. 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 


his  office.  In  this  connection  the  table  shown  in  Fig. 
46,  which  shows  approximately  how  many  words  are 
contained  in  a  square  inch  when  set  in  body  type  of 

AREAS  OF  CIRCLES  IN  SQUARE  INCHES. 


Diameter 
IN  Eighth 

Diameter  in  Even  Inches. 

Inches. 

1 

2 

3 

4 

5 

6 

7 

8 

9 

10 

0 

H 

.7854 
.9940 
1.227 
1.484 
1.767 
2.073 
2.405 
2.761 

3.1416 

3.546 

3.976 

4.430 

4.908 

5.441 

5.939 

6.491 

7.068 
7.669 
8.295 
8.946 
9.621 
10.32 
11.04 
11.79 

12.56 
13.36 
14.18 
15.03 
15.90 
16.80 
17.72 
18.66 

19.63 
20.62 
21.64 
22.69 
23.75 
24.85 
25.96 
27.10 

28.27 
29.46 
30.67 
31.91 
33.18 
34.47 
35.78 
37.12 

38.48 
39.87 
41.28 
42.71 
44.17 
45.66 
47.17 
48.70 

50.26 
51.84 
53.45 
55.08 
56.74 
58.42 
60.13 
61.86 

63.61 
65.39 
67.20 
69.02 
70.88 
72.75 
74.66 
76.58 

78.54 
80.51 
82.51 
84.54 
86.59 
88.66 
90.76 
92  88 

AREAS  OF  CIRCLES  IN  SQUARE  PICAS. 


Diameter 
in  Eiohth 

Diameter  in  Even  Inches. 

Inches. 

1 

2 

3 

4 

5 

6 

7 

8 

9 

10 

0 

H 

28 
36 
44 
53 
64 
75 
87 
99 

113 
128 
143 
160 
177 
196 
214 
237 

255 
276 
299 
324 
346 
372 
397 
407 

452 
481 
511 
541 

572 
605 
638 
672 

750 
743 
779 
816 
855 
895 
935 
976 

1,020 
1,060 
1,104 
1.149 
1,194 
1.240 
1,288 
1,336 

1,385 
1,435 
1,485 
1,537 
1,580 
1,634 
1,698 
1,754 

1,818 
1,867 
1,925 
1,985 
2,042 
2,105 
2.170 
2,228 

2,290 
2,368 
2,420 
2,485 
2,552 
2,620 
2.690 
2.758 

2,830 
2,900 
2.970 
3.044 
3,118 
3,195 
3,268 
3.345 

l88Mul88S8ISn8SlffilBiyiUIIU 


Fig.  47.—  Where  the  groups  of  type  are  irregular  in  shape  it  is 
much  more  difficult  to  "  cast  up  "  the  advertisement. 

[104] 


Fig.  48. —  Tables  showing  the  number  of  square  inches  and  the  number 
of  square  picas  in  circles  of  given  sizes. 


standard  measure,  in  sizes  from  five-point  to  eighteen- 
point,  and  both  solid  and  leaded,  will  be  of  interest. 

With  a  table  of  this  kind  at  hand,  and  keeping  in 
mind  that  in  a  square  inch  of  type  there  are  36  square 

[losl 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

picas,  the  printer  should  have  little  trouble  in  casting 
up  his  advertisement.  Ha  certain  space  is  9  picas 
wide  and  4  picas  deep  it  will  contain  36  square  picas, 
or  one  square  inch.    H  it  is  18  picas  wide  and  4  picas 


Make 

Your 

Letterhead 

Work 

For 

You 


Your  outgfting 
mail  represents  the  circula- 
tion of  an  advertising  medium  that'' 
costs  you  nothing— we  can  show  you  how 
to  take  advantage  of  this  advertising  potential ' 
'  —easily  and  surely. 

When  mding  your  morning  mail,  which  iettrrhead  catches 
your  eye,  rivets  your  tttentiua  and  creates  a  favorable  impres- 
sioo  ?    A  letterhead  which  does  these  things  is  advenisiog— le- 
gaidksa  of  what  the  letter  is  or  to  whom  it  goet. 

MICHIGAN 
LITHOGRAPHED 
STATIONERY 

A  MkUgan  Lithographed  Letterhead  has  srlling  value — b  not  i 
only  commands  attention  but  has  embodied  in  it  ■  touch  ol  in- 
dvMuUtjp— wcfcsM  llw  lapocluu  d  your  propoiiiioa  ud  iht  pcrKif  oi 
jnt  tm.    TtM  c«t  is  but  1/ 16  o<  *  ccM  UflKr  ikaa  thr  ordlury  printed 
Itttcibad.    Wc  ksTC  ummxl  iKUidcs  for  produdnf  lugh  fnuK  l>ib< 
grspliiac  work,  is  fttty  qiuotity,  si  ibort  sotkc. 

Write  m  M^v  IM  MU  tetnwlac  Ml  «l  lampIMb    TUs  li  •  vahuble  tBilliS» 
Md  will  ba  Mat  y«a  bM*  II  r«*i  *tU  vrM  M  •■  r*M  tm»  lalMtSi    ' 
Wril*lad«r  M 

MCMCAN  UTHOCRAnflNC  COMPANY 

Cnmi  HnUi.  Mkliiau. 
t»  t  <t*\  ;i««l«»— Fm  h»  mihi  iiM  «<  i>i»>  t»»ii«  <»»■ 

^    Wts  dftuton,  Mc ,  w«  kaW  a  iiilw  srlMiag  dt* 
piMs  la  avaav  dauil.    JaM  a 


Fig.  49. —  An  advertisement  set  in  the  circular  form. 

deep  it  will  contain  y2  square  picas,  or  two  square 
inches.  One  must,  however,  make  a  little  allowance 
where  the  measure  is  very  narrow,  as  a  larger  percent- 
age of  space  is  taken  up  by  justification  in  the  narrow 
measures. 

But  the  spaces  to  be  filled  are  not  always  rectangu- 
lar in  shape.  One  not  infrequently  encounters  such 
an  advertisement  as  is  shown  in  Fig.  47,  the  shapes  of 
the  groups  in  which  will  almost  baffle  the  closest  figur- 

[106] 


'Y 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 

ing.  In  cases  of  this  kind  one  can  arrive  at  only  an 
approximate  estimate  of  the  square  inches  of  space 
to  be  occupied  by  the  type.  It  is  well,  however,  to 
remember  that  in  these  unusual  spaces  which  have 
sharp  angles  a  little  allowance  must  be  made,  because  a 
triangle,  while  containing  half  of  the  space  of  a  rec- 
tangle of  the  same  height  and  width,  will  not  hold  quite 
half  as  much  type. 

In  computing  the  area  of  a  circle  in  square  inches, 
one  may  follow  the  rule  that  the  diameter  of  the  circle 
multiplied  by  itself  and  this  product  by  .7854  will  give 
the  area.  If  the  diameter  is  in  inches  the  area  will  be 
in  square  inches,  and  the  multiplying  of  the  number  of 
square  inches  in  the  circle  by  36  (the  number  of  picas 
in  a  square  inch)  will  give  the  result  in  picas.  In 
order  to  facilitate  this  circular  work,  two  tables  are 
shown  in  Fig.  48,  one  showing  the  areas  of  given  cir- 
cles in  square  inches  and  the  other  showing  the  areas 
of  circles  of  the  same  sizes  in  square  picas.  In  the 
latter  table  the  fractions  have  been  omitted.  Fig.  49 
shows  an  advertisement  set  in  this  circular  form. 

The  advertisement  shown  in  Fig.  50  presents,  at 
first  glance,  a  most  intricate  problem  in  justification; 
but  when  one  remembers  that  in  these  agency  ads.  the 
illustrations  are  patched  into  the  plate  by  the  electro- 
typer,  the  problem  is  not  such  a  difficult  one.  This 
patching  in  of  the  illustrations  not  only  allows  the 
printer  to  set  his  type  much  nearer  the  illustration 
than  he  could  if  the  cut  itself  were  used  in  the  type- 
form,  but  it  enables  him,  by  quadding  out  the  space 

[107] 


INTENTIONAL     SECOND  EXPOSURE 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

picas,  the  printer  should  have  Httle  trouble  in  casting 
up  his  advertisement.  If  a  certain  space  is  9  picas 
wide  and  4  picas  deep  it  will  contain  36  square  picas, 
or  one  square  inch.     If  it  is  18  picas  wide  and  4  picas 


Make 

Your 

Letterhead 

Work 

For 

YoQ 


Your  outgoing 
mail  represents  the  circula- 
tion of  an  advertising  medium  that^ 
costs  you  nothing— we  can  show  you  how " 
to  take  advantage  of  this  advertising  potential 
'  —easily  and  surely. 

When  reading  your  morning  mail,  which  ktierhead  catches 
your  ejre,  rivets  your  attention  and  creates  a  favorable  impres- 
sion ?    A  letterhead  which  does  these  tbin^  is  advertising— re- 
ganOesa  of  what  the  letter  is  or  to  whom  il  goes. 

MICHIGAN 
LITHOGRAPHED 
STATIONERY 

A  Mkh(gan  Lithographed  Letterhead  has  selling  value — h  not ; 
only  commands  attention  but  has  embodied  in  it  a  touch  of  in. 

AvMualiljr— «lgcctls  the  inportaiicc  erf  your  propcsittoo  and  lh«  prrnlifr  a4 
your  linn.     TIm  coat  ia  iHit  i/  t6  ol  a  cent  highrr  than  th^  ordinarv  priatfd 
Icttcrbcmd.    Wc  ha««  ummiol  lacUilMS  Coc  produunf  hich  griuk  lilbc 
fraphinf  vock,  is  aay  quauity,  al  iboit  aouce. 
Wrila  at  wday  IM  9>a  lliiaallas  aal  al  liaialw     Tlila  la  a  nlnabW  anHiMa 
and  wfU  ta  taat  yaa  Um,  II  yaa  wiH  «rlla  wa  an  raar  awa  Imaiaaail.      t 
Wfita  today  fa 

MKMCAN  UTHOCRAPHINC  COMPANY 

Craa4  RapiJa,  MkIussk 

taartsl  !IMic*-FM  dw  pntfanlaa  at  kl(k  tnMtUf 

^  lot^  ckculafi,  ffic .  va  Iwva  a  wajwa  sriallat  ^• 

fert»#ai.  t  aiwtili  la  la  <■■■!  dautL    Jaat  a 

wwd  will  briaf  yea  lull  aaMcutea  a  ' 


Fig.  49. —  An  advertisement  set  in  the  circular  form. 

deep  it  will  contain  72  square  picas,  or  two  square 
inches.  One  must,  however,  make  a  little  allowance 
where  the  measure  is  very  narrow,  as  a  larger  percent- 
age of  space  is  taken  up  by  justification  in  the  narrow 
measures. 

But  the  spaces  to  be  filled  are  not  always  rectangu- 
lar in  shape.  One  not  infrequently  encounters  such 
an  advertisement  as  is  shown  in  Fig.  47,  the  shapes  of 
the  groups  in  which  will  almost  baffle  the  closest  figur- 

[106] 


THE    TYPOGRAPHY    OF    ADVERTISEMENTS 


7/ 


ing.  In  cases  of  this  kind  one  can  arrive  at  only  an 
approximate  estimate  of  the  square  inches  of  space 
to  be  occupied  by  the  type.  It  is  well,  however,  to 
remember  that  in  these  unusual  spaces  which  have 
sharp  angles  a  little  allowance  must  be  made,  because  a 
triangle,  while  containing  half  of  the  space  of  a  rec- 
tangle of  the  same  height  and  width,  will  not  hold  quite 
half  as  much  type. 

In  computing  the  area  of  a  circle  in  square  inches, 
one  may  follow  the  rule  that  the  diameter  of  the  circle 
multiplied  by  itself  and  this  product  by  .7854  will  give 
the  area.  If  the  diameter  is  in  inches  the  area  will  be 
in  square  inches,  and  the  multiplying  of  the  number  of 
square  inches  in  the  circle  by  36  (the  number  of  picas 
in  a  square  inch)  will  give  the  result  in  picas.  In 
order  to  facilitate  this  circular  Avork,  two  tables  are 
shown  in  Fig.  48,  one  showing  the  areas  of  given  cir- 
cles in  square  inches  and  the  other  showing  the  areas 
of  circles  of  the  same  sizes  in  square  picas.  In  the 
latter  table  the  fractions  have  been  omitted.  Fig.  49 
shows  an  advertisement  set  in  this  circular  form. 

The  advertisement  shown  in  Fig.  50  presents,  at 
first  glance,  a  most  intricate  problem  in  justification; 
but  when  one  remembers  that  in  these  agency  ads.  the 
illustrations  are  patched  into  the  plate  by  the  electro- 
typer,  the  problem  is  not  such  a  difficult  one.  This 
patching  in  of  the  illustrations  not  only  allows  the 
printer  to  set  his  type  much  nearer  the  illustration 
than  he  could  if  the  cut  itself  were  used  in  the  type- 
form,  but  it  enables  him,  by  quadding  out  the  space 

[107] 


0 


I 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 


to  be  occupied  by  tbe  illustration,  to  set  the  advertise- 
ment much  as  he  would  straight  matter. 

In  order  to  determine  the  space  to  be  occupied  by 


How  to  Sell  Real  Estate  at  a  Profit 


This    128.Pagc    Book 
Packed  with  Dollar- 
getting    Real^^\.4 
Estate  ldea«/^ 
Is  .^'^- 


\^.s^^^ 


Contains  43  complete  plann  and  campaigns  irady  for  your 

Immediate   use,     t>e.i;Tibc5    ^ivitlly,   ct^arly,    spccititatly    t\cry 

newest  method  for  selling  farm  and  <iiy  propertirs,  renting  vacant 

u^nt.  apar'TTiffit^   adA   buftinn*  locAiotu.     Of  particulir  inirrest  to    K\fTy   prof^ 

criy  oMDcr.    Abaolutdy  iovaluable  to  every  re*l   esui£  mjn — bcsioacr  or  pioorrr. 

T>i  t  hoo!;  takrt  up.  nne  by  onr,  th»  various  phuei  of  the  rral  P5t.ite  buMnrs^;  bif  rnul 

praiy^W.'ins,  v-iunng  trn-intt  (or  rciJdrn<rv,  Uric  and  tm.ill;  idling  down  lowa  real  es- 

idtf.  di«rMMJn)[  c4  Miburban   lots;    exritoiiiog:  new  addtltons;  tclliim  acreage,  far.^s  and 

ranthcs;   m^klrtK  roirrciton^;   krrriiic  records  o(  real  euale  truuacticBs;  cUjikfytaC 

lumrs  i4  ivospcclivc  cuatomcrt. 


What  this  book  has  done  (or  other  real  es* 
tatedealersy  it  will  just  as  surely  do  for  yott 


'  canplete 

^leiled  caapaifu 

'^atl  rtWy  It  fov  to  u$t. 

How  to  li(t  pror>di*-"~to  N.ikl  up 
k  (li«HWlf  — to  kMtJ  lO'is  on  b<  lid- 
(b|«— to  Mil  Kdl  cft<ii«  l>ir  11^11—1 
h«iid>«  **kH>iM'-lr  lni^in«tt~4»*aplo4C 
Cfly   lUl-d-viMOr.— to  to  ' 

live  c  t«(onirn— 10   pm»Pt  a  tf'povttio*    , 

to  a  c  t<-n(    to  pl«nt  <>rf<in;eMi  ih^t  t.t>n<l| 

ulM-io  kt«p  M  tfcot'l  ot  rnl  #U4t«  Imm— ' 

t*  hMp  a  rriOfcl  ol  tl')«<  jind  kbHracn 

triid*  .:«  »nd  mtrcmut*  i^r'-p#*ti«— toicu  Ltrs' 

^,.p.nr-i.  d.«»a..  .1  .«•.„.  *ni»  wvto  r^  a  co^y  WifcH  b«M*.  "H.«  to  VU 

R'kl  Eutleat  a  PioAt,"  aUol^ttlr  h^.  It  tlif«ich%Y!»rt-   t.  wiwchttMMto  |M«-m>:'  'dt  t!.«  »<9>k 

H«r>i")«  tt  a^sincH.     2Mto  3S«  ».it*«  U  twcry  ii«u»  uf  ^YSTfeM.  and  yaa  cam  1  ilordiomts 

inf  t  pift.     SVSrL'4  w>l]  ihow  irou  tittw  Uaccomp.,Oi  imrr-howle  ii>ab«Maff«iA /our  pr«>titt 

d«,ly  wwifc.    g-Tf  ni  1 1 1  naiimi  ipiriil  laiiitotalnrmrii  ■  i  a  illtimiiMnlThataaliiliulwiiliiiii 

FPFF     -  Al'**i'  Cverr  tingte  tt«a<Sv<fnKifn«nf«nyraliMwh^l«v«r that  Itoi hitherto 
r  ¥Vl-t»        J^K^  1     brp„  piiWikhed  oa  tr*l     .t  .»*■  iimOkkI*  Has  t*rn  >t.;d  iur  In.n.  $t  u  !■! 
a  ropy  t»r  more.    I'lta^a  k|>rci'lintr«'fiM-tory  uler,  wchAvcdacMladt-.  ^ivrAwif  iheftnt  lopivs 
olih*SYSTM4  edit«jn<ithia»pl«a-l.  tntw  real  otatydvalir't  booh.  al«->lutrtv  ttvr.wiib  «  •r«J 
•r  a  rtaffwfti  «(  At  old  w'  ttr^km     Srid  |^  «iih  th«  cotfiKHi.     Ti  «  b'ok  wiU  ;;n  torwwd  > 
•rtmily— aU  charges  ptapaid ;  Mid  your  aaoM  triil  be  p;a,.«d  oa  SlTSTEMa  Mbmjiftiom  liu 


M'lW.    mar^rfV  ot   TSe   | 

'  L<n>f  Compdi-v,  llro«'tif 

V,  Hon..  wTiM;    *'Th«    I 

*   U  IHT  «  hill  oi/si/t— 

or/),    Btil    ni«ft    theories 

ftnd    aigumeoift,     but 

pUi«.     col  -t     tittimt't 

/un.      W«    dvd    Bot 

ItNli    H   potubk  to 

boa  dowm  as  much 

bnualaodlBao  Bn*a 

_  vohiMt.**     ItaMff  ac 

Slater,  ol  Spnfcaw,  Waah  . 

Ali«t    "If  wo  were  to  tell  tuu 

Iho  niinihaff  ol  loit  »o)  I  and  tho 

atniiae  oi  lBon«r  *e  havv«Ni«l«*ta 

dirrct  r««uit  «l  i«o  k1#m  set  <if«d  Irum 

vwir  bocik  anil  iitci>rpO'aM>t  in  t^«a  a<lvrr- 

tiM'inmtt.  thit  letter  wouM  Muad  hue  *  ^^v 

tat  fl>«dk:ne  leMHMMii*!. 


SVSTIM 


ftod  U  io* 

wYi%e\    pieata 

tMdSVStEM 

o  li.ll  y«or  to  tha 


lSI-193 
W*(M>h  Ava.. 


4««^ 

■a«  ^Jd  ST.. 
Nov  Vaek 


Subacriottaat  td  C^aadUa  addrauat  ait  SQ  aaatt  ■ 


Fig.  50. —  In  setting  advertisements  of  this  character,  a  "  cut-out  " 
or  pattern,  such  as  that  shown  in  Fig.   51,  is  used. 

the  illustration,  and  to  place  his  type  in  the  proper 
position,  the  compositor  uses  a  "  cut-out "  or  pattern. 

Taking  a  proof  of  the  cut  or  cuts  to  be  used  in  the 
advertisement  and  cutting  them  out,  allowing  the 
amount  of  margin  desired  around  them,  the  compositor 
places  them  in  his  stick  or  on  the  galley  in  reverse 
position  to  that  which  they  will  occupy  in  the  com- 
pleted advertisement. 

Or,  better  still,  he  places  the  cuts  just  as  they  are 

[108] 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 

to  appear  in  the  advertisement,  takes  a  proof  of  them, 
traces  the  outlines  on  the  back  of  the  proof,  and  secures 
a  pattern  such  as  is  shown  in  Fig.  51.    With  this  pat- 


FiG.  51. —  Patterns  of  this  kind  are  used  in  setting  advertise- 
ments such  as  that  shown  in  Fig.  50. 

tern  the  rest  is  easy,  as  he  can  see  just  where  to  com- 
mence and  end  each  line. 

Where  the  advertisement  ends  with  a  display  sig- 
nature, the  compositor  has  a  little  leeway  in  his  casting 
up  of  the  matter,  as  he  can  put  in  or  take  out  a  little 
space  without  any  trouble;  but  where  it  ends  without 
display,  as  does  the  example  shown  in  Fig.  50, •the 
utmost  care  is  necessary  in  order  that  it  may  not  run 
over  the  allotted  space. 

[109] 


INTENTIONAL     SECOND  EXPOSURE 


I 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 


to  be  occupied  by  the  illustration,  to  set  the  advertise- 
ment much  as  he  would  straight  matter. 

In  order  to  determine  the  space  to  be  occupied  by 


How  to  Sell  Real  Estate  at  a  Profit 


This    128-Pagc    Book 
Packed  with  Dollar- 
getting    Reaj/^N^^ 
Estate  \dea.»y^'    .<^ 


Contains  43  complete  plans  and  campaigns  ready  for  your 

immcdiaie   use.     Describes    \ivi(ily,   cl^Arly,    specititally    e\ery 

newest  method  for  selling  farm  and  <  ity  prtiperiips,  renting  vacani 

u-irs.  aparrmfiir^   and    bu^inna  loca'tions.     Of  partuulir  interest  lo    «%rry    \>f<t\*- 

my  owner.    Absulutely  inv^luAble  to  every  rtal   esuir  nua — tM^Kinaer  or  paooc«r. 

T'm  :  li-^ioV  ukp^  up,  one  by  one,  th*  various  phxvs  of  the  rr.il  rotate  buniiKHti;  big  rrn:*! 

\-  ns  ^muTing  lrn.int4  for  rc^iflfni  r«;  larRc  and  sm.iii.  M-llinc  down  tows  real  »- 

•o&iniE  o(  $uhtirb.tn   lots;    cxT''<Niin2  nrw  additions,  Kllinx  arrr:<^«,  f  jr  ti«  «r.d 

;   m.iking  rnirrction^:  krrping  records  cA  rc^  caiaie  lria;»icticas;  clak3i)iaf 

o^n-.i  s  i.\  [irosfjcctive  cu,toincr». 

What  this  book  has  dene  for  other  real  es* 
tate  dealers,  it  will  just  as  surely  do  for  yott 


coai^lett 
^aS  raady  far  ja«  lo  as*;.! 


,  N.    A.    M'll*^.   iMRAffrr  ol  Th«    | 
ri'l  C(HHp4'<ir.  Brawiit    ' 
^j,yjk*''Vr       -^    v.^^^^^  ^'-I''v<   Mfbh.,  wfiw«:    *"Th« 

^^ '^^r-j^^^^y^^^^io*^.  U  U  n  luU  oi/mai^ 

^  knd    aigumcats,    but 

.  /f..'*.      W»    <1kI    wX 
^UiiiiM    H   poniM*  to 

boa  How  a*  iHucii 

bnialaod  to  w  mraM 

a    voiumr.**      SUttr    d( 

SUter,  ol  Spohxac,  Wish  . 

aiW  :      "II  «r  wcr«|o  tfll  tiMI 

th*  iiiinibrr  ot  lo^^  ^»l  1  an.J  ttie 
'^  aiKoimf  of  ini>r.er  »p  tMV<p  nu<t'  4s.i 

''  iHi-fftr^iili  ol  two  \t\n%  K>  11*1*  liiMn 
.  Jt  bock  a-^-tinL-..rpOfai«.l  in  ('•ojid»cr- 
^nM  lh  \  Uttrr  w«ul4aound  litteAp«t- 
i  .MIC  tr>tinoeiAl. 


SYSTIH 


Hdo  <0  l>»t  prOD^rlM'^—IO  bti'Mup 

•  ilicntcle— to  kevu  <o-i»  on  b  itld* 

int«~to   Mil  trj,\    cttiic  ly  n  .lil-to 

h«Hdlr  t«sM>nai>lp  t>u^ttte«>— <o  CKpIolt 

Cliy  tui'-divlkion— 'to  lu  itiw  lip  pTA*[)*C' 

Itvv  c  > sfomrrc— lo    prcwnt  a   |>r'>pu«it<oa 

to  a  t  i^nt  -to   pUnt    Aff '<n;eiil(  thil  ilin-ti 

MiM-to  kt»p  «  t«cOT<l  e(  t<r»A  rixitt  loaa^— 

T«  k«ep  a  ttitttA  «ltj'k«  anrt  at<ttrac*&~  •"renlS 

imrf*  c«  »nd  ir*fcai>i.l«t.r..p#rtiek— toM;i|j 

,..,p.n,-l.  On w  •«  «J..^.  •Yt»  -.V »  ,«  .  c-„,  rt  tkh  *<»*.  "Ho-  .0  Vll 

R'll  Fm«»  at  K  Pfc*l."  aUol-  Tfir  Ir*^.  I«  (hniifh^vsri-  -t.  wiuch  sTudt  i/w-cwj  -m  t!.«  uxiv-h 

Ki«|«t''it  •<  Bit^'iictt,    263  10  .*f6  pijM  in  evetr  .**u«  il  -•VSTfcM.  an  J  von  una  t  *lfiMdiomi%s  4 

I  p*  •  p«ff.     SYsrt'.I  »ill  »h*/w  villi  '  uw  Id  coriiin.st)  lairf-huHIo  i  ttkciBurv  m  /wif  prf.'iit 

d«ii>'  »-ik.    Bath i»»uccbauiaiKp«ki^iB>i«lciuiorRutiuRuB all l«4tureioltlM Mai v&utebuviiiciA. 

popp         AY'"!*  E»*n'  liPfle  UMtAuA  voKimcnfsnr  value  whjtc*«rThitlMf  hitherto 

l^i^t*!:*       /%V^  I    trfn  p'.ib4i>lt«J  on  r<|«I    .t  ii- mrtjuxls  hM  l**n  siitiUurii^imU  ty  J5 

a  roproff  morf.    Hut  a^  a  ap^.t  I  imro  Ijitory  iiRer,  w*hav«dccMi«dt'  rfuPdwar  llieftm  iopict 

•Itbr  SYSTt:M  ediiiun  ij  ihisiplrn-1.  I  new  real  eMare  dealot's  book.  a;i«:<tutely  tree,  with  a  ne« 

Ma  itaawal  el  a'l  oldau  a4.rpti.111     Se  nl  |.'  with  Iho  ro-ipon.     T>  •  t>  >ok  wiU  ;o  lurwaetl  ini.' 

■■iilllilt    lil  t^«aaa  yt^aij.  aaJ  ycui  »a—  wt.1  be».a.tj »■  SYsTli-M'a  ^IMuiptioa  Ul 


F»Ioh4 
(ad  f  h* 
whi.'b    pleaM 
md  MStEM 
one  I  'I  yea?  to  th« 
addma  trlow  1  abw  li*e> 
ward  to   tarn,   all  cbatfaa 
prtpaiit.  ooc  cupr   ol   yof 
>  book.  'How  u  Siall  lUll 
Etutc  at  a  Pr«4<.'* 


151-lfl 
Waba.h  Aer, 


aaM 
Bait  ^.(1  St . 
Mew  Voek 


SijlMCfic«ioaa  to  Caaadiaa  addwaai  at<  M  caatt  « 


Fig.  50. —  In  setting  advertisements  of  this  character,  a  "  cut-out  " 
or  pattern,  such  as  that  shown  in  Fig.   51,  is  used. 

the  illustration,  and  to  place  his  type  in  the  proper 
position,  the  compositor  uses  a  "  cut-out "  or  pattern. 

Taking  a  proof  of  the  cut  or  cuts  to  be  used  in  the 
advertisement  and  cutting  them  out,  allowing  the 
amount  of  margin  desired  around  them,  the  compositor 
places  them  in  his  stick  or  on  the  galley  in  reverse 
position  to  that  which  they  will  occupy  in  the  com- 
pleted advertisement. 

Or,  better  still,  he  places  the  cuts  just  as  they  are 

[108] 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 

to  appear  in  the  advertisement,  takes  a  proof  of  them, 
traces  the  outlines  on  the  back  of  the  proof,  and  secures 
a  pattern  such  as  is  shown  in  Fig.  51.    With  this  pat- 


FiG.  51. —  Patterns  of  this  kind  are  used  in  setting  advertise- 
ments such  as  that  shown  in  Fig.  50. 

tern  the  rest  is  easy,  as  he  can  see  just  where  to  com- 
mence and  end  each  line. 

Where  the  advertisement  ends  with  a  display  sig- 
nature, the  compositor  has  a  little  leeway  in  his  casting 
up  of  the  matter,  as  he  can  put  in  or  take  out  a  little 
space  without  any  trouble;  but  where  it  ends  without 
display,  as  does  the  example  shown  in  Fig.  50/ the 
utmost  care  is  necessary  in  order  that  it  may  not  run 
over  the  allotted  space. 

[109] 


CHAPTER  IX. 

ILLUSTRATIONS    IN    ADVERTISEMENTS. 

N  SO  far  as  illustrations  in  advertise- 
ments are  concerned,  the  part  that 
the  compositor  plays  in  their  use  is 
merely  to  do  the  best  he  can  with 
what  comes  to  iiim.  Whether  the 
advertisement  shall  be  illustrated 
or  not,  and  if  so,  with  what  kinds 
of  cuts,  are  questions  decided  by 
the  advertisers.  When  the  copy  reaches  the  printer 
the  cuts  are  already  made,  and  it  remains  for  him  to 
see  that  they  are  used  in  the  most  effective  manner. 

And  in  connection  with  the  effective  use  of  illus- 
trations in  advertisements  are  several  points  worthy 
of  serious  consideration,  the  most  important,  perhaps, 
being  the  question  of  the  preservation  of  harmony 
between  the  illustrations  and  type. 

Given  a  cut  of  certain  shape,  to  be  used  in  an  adver- 
tisement of  definite  dimensions,  the  compositor  can  do 
little  if  anything  toward  a  changing  of  conditions  as 
regards  shape  harmony.  If  the  cut  harmonizes  in 
shape  with  the  space  designated  for  the  advertisement, 
so  much  the  better;  if  it  does  not,  it  is  beyond  the 
power  of  the  compositor  to  remedy  it. 

[no] 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 

There  is,  however,  opportunity  for  the  demonstra- 
tion of  the  niceties  of  shape  harmony  in  the  selection 
of  types  to  accompany  certain  cuts.  Note  the  harmony 
of  line  between  the  graceful  italic  letter  and  the  free 
treatment  of  the  illustrations  in  the  Cuticura  Soap 
advertisement  shown  in  Fig.  54.  Imagine,  if  you  can, 
the  two  lines  which  are  now  in  italic  being  set  in  lining 
gothic !  Note  also  the  advertisement  shown  in  Fig.  52. 
Here  we  have  another  pen-and-ink  illustration,  but  of 
such  nature  that  one  would  scarcely  consider  its  use 
in  connection  with  the  italic  letter  —  the  letter  which 
has  been  used  being  much  more  in  keeping. 

Of  harmony  of  tone  in  the  use  of  illustrations  the 
printer  has,  however,  more  control.  Unless  the  instruc- 
tions which  accompany  the  copy  arbitrarily  designate 
the  type-face  to  be  used,  he  can  and  should  see  to  it 
that  a  harmony  of  tone  between  type  and  cut  is  main- 
tained.  If  the  cut  is  light  in  tone  and  contains  delicate 
lines  he  should  use  with  it  a  light  type-face,  while  a 
heavy,  black  cut  would  suggest  a  heavy,  bold  letter. 
While  it  is  not  always  possible  to  secure  a  perfect  har- 
mony between  type  and  illustration,  still  a  little  thought 
on  the  part  of  the  compositor  will  result  in  bringing 
them  much  closer  together  in  tone,  and  prevent  either 
cuts  or  certain  lines  from  unduly  "  standing  out "  from 
the  page.  This  is  illustrated  in  Fig.  52,  an  advertise- 
ment taken  from  a  German  publication.  Here  we  note 
a  harmony  of  tone  which  gives  a  rich,  even  color  to 
the  advertisement  and  results  in  an  attractive  appear- 
ance.    Fig.  53,  another  advertisement  from  the  same 

[III] 


m 


m 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

publication,  also  illustrates  a  careful  regard  on  the  part 
of  the  compositor  in  the  selection  of  a  type-face  which 
in  tone  harmonizes  with  the  cut. 

In  direct  contrast  to  these  two  examples,  both  of 
which  are  dark  in  tone,  is  the  advertisement  shown  in 
Fig.  54.  In  this  case  the  compositor,  having  a  cut  light 
in  color,  has  selected  type-faces  to  harmonize,  and  the 
result  is  an  advertisement  which  "  pulls  together  "  in 
a  most  satisfactory  manner.  Fig.  55  also  shows  a  har- 
mony in  light  tones,  the  type  holding  its  place  in  the 
illustrations  most  effectively. 

And  in  this  discussion  of  tone  harmony  between 
cuts  and  text,  the  illustration  shown  in  Fig.  56  is  not 
amiss.  Although  the  cut  in  this  advertisement  is  a 
decoration  rather  than  an  illustration,  it  serves  its  pur- 
pose as  an  example  of  a  most  pleasing  harmony  in  its 
relation  to  the  text,  and  one  can  not  but  appreciate  the 
good  taste  with  which  the  compositor  has  selected  his 
type-face. 

Another  interesting  point  in  connection  with  the 
use  of  illustrations  in  advertisements,  and  one  that  is 
frequently  not  taken  into  consideration,  is  the  question 
of  placing  the  cuts  so  that  the  illustration  will  lead, 
by  the  nature  of  its  composition,  into  the  text  rather 
than  away  from  it.  Again,  drawing  an  analogy  between 
pictorial  composition  and  typographical  design,  we  take 
note  of  the  fact  that  the  painter  arranges  his  composi- 
tion in  such  manner  that  when  one  looks  at  the  picture 
the  eye  follows  naturally  from  one  point  of  interest  to 
the  other,  each  figure  or  other  object  suggesting  by  its 

[112] 


THE  TYPOGRAPHY   OF  ADVERTISEMENTS 

shape  and  placing  a  movement  of  the  eye  toward  the 
next  logical  point  of  interest.  For  instance,  when  one 
looks  at  a  figure  in  a  picture  it  is  but  natural  that  the 
eye  shall  follow  the  direction  in  which  that  figure  is 


DEUTSCHE  WERKSTATTEN  FUR 
HANDWERKSKUNST  G.  AA.  B.  H. 


Cnlwwi:  Rkh.  RKmmduiiM.  Dwsn  Zimmcr  kosM  in  Mjssiv-Eidie  M  ST7.— ,  in  MissivMahaaoiM 
M  62(.-.  mu  zweiliirigem  Klci»<n<hnnk  in  Massiv  -  Eidie  M  wa— ,  in  Massiv-Mahtjoni  Hi  U6.- 

WOHNUNGS-E^NRICHTUNGEN 

deutsdierArtin  neuerTechnik.  KlareFormen.edles  Material. 
Originalarbeiten  nadi  Entwurfen  erster  Kunstler.  —  Vor- 
schlage  ohne  Verpflichtung  fiir  den  Anfragenden  kosten- 
los.  —  Man  verlange  in  jeder  Buchhandlung  oder  von  6er 
Gesdiaftsstelle  Dresden-A.16  die  illustrierten  Preisbudier: 
Nr.  10:  Dresdner  Hausgerat(Zimmer  v.  M230-950)  M  1.20 
Nr.  lOi :  Handgearbeitete  Mobel  (Zimmer  uber  M  900)  M  5.— 
Nr.  1:  Kleingerat:  textile  und  keramisdie  Erzeugnisse  (vier 
Budier)  und  Beleuditungskorper  (zwei  Budier)  ..  M  1.75 
Tapetenmusterbiicher  und  StoffmusterbQcher  T  zur  Ansidit 
gegen  portofreie  RuAsendung  und  je  M— .50  in  Marken. 
Angabe  der  Art  und  Verwendung  der  Stoffe  ist  erwunsAt 

VERKAUFSSTELLEN  DRESDEN 

un5  standige  Ausstellungen:  Ring-StraBe  15 

MUNCHEN  HAMBURG  BERLIN  W 

Arcis-StraBe35  Kdnig-StraBel5  Bellevuestr.  10 


Fig.  52. —  A  little  care  on  the  part  of  the 
compositor  in  suiting  the  type  to  the  illustra- 
tion has  resulted  in  a  page  that  is  harmonious 
in  tone. 


[113] 


INTENTIONAL     SECOND  EXPOSURE 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

publication,  also  illustrates  a  careful  regard  on  the  part 
of  the  compositor  in  the  selection  of  a  type-face  which 
in  tone  harmonizes  with  the  cut. 

In  direct  contrast  to  these  two  examples,  both  of 
which  are  dark  in  tone,  is  the  advertisement  shown  in 
Fig.  54.  In  this  case  the  compositor,  having  a  cut  light 
in  color,  has  selected  type-faces  to  harmonize,  and  the 
result  is  an  advertisement  which  *'  pulls  together  "  in 
a  most  satisfactory  manner.  Fig.  55  also  shows  a  har- 
mony in  light  tones,  the  type  holding  its  place  in  the 
illustrations  most  effectively. 

And  in  this  discussion  of  tone  harmony  between 
cuts  and  text,  the  illustration  shown  in  Fig.  56  is  not 
amiss.  Although  the  cut  in  this  advertisement  is  a 
decoration  rather  than  an  illustration,  it  serves  its  pur- 
pose as  an  example  of  a  most  pleasing  harmony  in  its 
relation  to  the  text,  and  one  can  not  but  appreciate  the 
good  taste  with  which  the  compositor  has  selected  his 
type-face. 

Another  interesting  point  in  connection  with  the 
use  of  illustrations  in  advertisements,  and  one  that  is 
frequently  not  taken  into  consideration,  is  the  question 
of  placing  the  cuts  so  that  the  illustration  will  lead, 
by  the  nature  of  its  composition,  into  the  text  rather 
than  away  from  it.  Again,  drawing  an  analogy  between 
pictorial  composition  and  typographical  design,  we  take 
note  of  the  fact  that  the  painter  arranges  his  composi- 
tion in  such  manner  that  when  one  looks  at  the  picture 
the  eye  follows  naturally  from  one  point  of  interest  to 
the  other,  each  figure  or  other  object  suggesting  by  its 

[112] 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 

shape  and  placing  a  movement  of  the  eye  toward  the 
next  logical  point  of  interest.  For  instance,  when  one 
looks  at  a  figure  in  a  picture  it  is  but  natural  that  the 
eye  shall  follow  the  direction  in  which  that  figure  is 


DEUTSCHE  WERKSTATTEN  FUR 
HANDWERKSKUNST  G.  M.  B.  H. 


tnlwurf:  Rkh.  Riemers<hmia.  Dieses  dimmer  koctet  in  Massiv-Eidie  M  577,—,  in  MassivMahagoni 
M  62«.-  .  nui  zweitungem  Kleidersthrank  in  Atassiv  •  tidie  M  400.—,  in  Massiv-MabAgoni  M  436  — 

WOHNUNGS-E4NRICHTUNGEN 

deutsdierArtin  neuerTedinik.  KlareFormen.edles  Material. 
Originaiarbeiten  nadi  EntwQrfen  erster  Kiinstler.  —  Vor- 
schlage  ohne  Verpfliditung  fiir  den  Anfragenden  kosten- 
los.  —  Man  verlange  in  jeder  Budihandlung  o5er  von  6er 
Gesdiaftsstelle  Dresden-A.16  6ie  iliustrierten  Preisbudier: 
Nr.  10:  DresdnerHausgerat(Zimmer  v.M230-950)M  1.20 
Nr.  10.:  Handgearbeitete  Mobel  (Zimmer  uber  M  900)  M  5.— 
Nr.  1:  Kleingerat:  textile  und  keramisdie  Erzeugnisse  (vier 
Bucher)  und  Beleuchtungskorper  (zwei  Budier)  ..  M  1.75 
Tapetenmusterbudier  und  Stoffmusterbudier  T  zur  Ansicht 
gegen  portofreie  Rucksendung  und  je  M  —.50  in  Marken. 
Angabe  der  Art  und  Verwendung  der  Stoffe  ist  erwunsdit 

VERKAUFSSTELLEN  DRESDEN 

un5  standige  Ausstellungen:  Ring-StraSe  15 

MUNCHEN  HAMBURG  BERLIN  W 

ArcisStraBe35  K6njg-StraBel5  Bellevuestr.  10 

Fig.  52. —  A  little  care  on  the  part  of  the 
compositor  in  suiting  the  type  to  the  illustra- 
tion has  resulted  in  a  page  that  is  harmonious 
in  tone. 

[113] 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 

looking,  or  perhaps,  pointing.  This  being  the  case,  the 
desirabiHty  of  having  that  figure  looking  or  pointing 
into  instead  of  out  of  the  composition  is  readily  appar- 


Ein  Ruf  an  die 
Buchkiinstler 

Wir  sind  von  einer  grofien  Verlagsbuchdruckerei  mit  der 
Lieferung  einer  neuen  kiinsllerischen  Buchschrift  sowie 
dazu  passcnden  Initiolen  nebsl  Schmuck  beaultragt  und 
•fir  bitten  diejenigen  Herren  Kiinstier,  die  sich  der  gestellten 
setir  dankbaren  Hufgabe  unlerziehen  wollen,  uns  sobald 
als  moglich  ihre  Adressen  aufzugeben.  Wir  sind  berechtigt, 
die  Zeichnungen  spatcr  liir  unsere  Zwecke  zu  verwerten 
und  sind  daher  in  der  Lage,  ein  hohes  Honorar  zu  zahtea 

Schriftgicfierci  Ludwig&  Mayer 
in  Frankfurt  am  Main 


THE   TYPOGRAPHY  OF   ADVERTISEMENTS 


Fig.  53. —  Another  illustration  of  the  harmony 
of  type-face  and  cut. 

ent.  That  the  application  of  this  principle  is  as  essen- 
tial to  good  typography  as  it  is  to  good  pictorial  com- 
position is  shown  in  the  reproductions  in  Figs.  57  and 

[114] 


Cuticura  Soap  Best 
for  Skin  andHatr 

More  than  a  generation  ot 
women  have  found  that  no  soap 
is  so  well  suited  for  cleansing 
and  preserving  the  skin  and  hwr 
as  Cuticura  Soap.  Its  absolute 
purity  and  refreshing  fragrance 
would  alone  be  enough  to  recom* 
mend  it  above  ordinary  skin  soaps, 
but  there  is  added  to  these  qual- 
ities a  delicate  yet  effective  med- 
ication,  derived  from  Cuticura 
Ointment,  which  renders  it  in- 
valuable in  overcoming  a  ten- 
dency to  distressing  eruptions, 
and  in  promoting  a  normal  con- 
dition of  skin  and  hair  health, 
among  young  and  old 

For  the  thirty-two  page  Cuticura  Booklet. 
«  guide  to  the  best  care  of  the  skin  and  hair, 
address  Potter  Drug  Ic  Chemical  Corporation. 
t33  Columbus  Ave..  Boston,  U.  S.  A. 


Fig.  54. —  Here  the  type  harmonizes  with  the  illustration  in  shape  as 

well  as  in  tone. 


8 


INTENTIONAL     SECOND  EXPOSURE 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 

looking,  or  perhaps,  pointing.  This  being  the  case,  the 
desirabiHty  of  having  that  figure  looking  or  pointing 
into  instead  of  out  of  the  composition  is  readily  appar- 


Ein  Ruf  an  die 
Buchkiinstler 

Wir  sind  von  ciner  groOen  Verlagsbujhdruckerei  mil  der 
Lieferung  einer  ncuen  kiinstlerischen  Buchschrift  sowie 
dazu  passenden  Initialen  nebst  Schmuck  beauftragt  und 
wir  bitten  dicjenigen  Herren  Kiinstler,  die  sich  der  gestellten 
sehr  dankbaren  Aufgabe  unterziehen  wollcn,  uns  sobold 
als  moglich  ihre  Adressen  aufziigebcn.  Wir  sind  bercchtigt, 
die  Zeichnungen  spaler  fiir  unsere  Zwecke  zu  vcrwcrten 
und  sind  daher  in  der  Lage,  ein  hohes  Honorar  zu  zahleii. 

SchriftgieOerei  Ludwig&  Mayer 
in  Frankfuf  t  am  Main 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 


Fig.  53. —  Another  illustration  of  the  harmony 
of  type-face  and  cut. 

ent.  That  the  application  of  this  principle  is  as  essen- 
tial to  good  typography  as  it  is  to  good  pictorial  com- 
position is  shown  in  the  reproductions  in  Figs.  57  and 

[114I 


Cuticura  Soap  Best 
for  Shn  andHatr 

More  than  a  generation  ot 
women  have  found  that  no  soap 
is  so  well  suited  for  cleansing 
and  preserving  the  skin  and  hair 
as  Cuticura  Soap.  Its  absolute 
purity  and  refreshing  fragrance 
would  alone  be  enough  to  recom* 
mend  it  above  ordinary  skin  soaps, 
but  there  is  added  to  these  qual- 
ities a  delicate  yet  effective  med- 
ication, derived  from  Cuticura 
Ointment,  which  renders  it  in- 
valuable in  overcoming  a  ten- 
dency to  distressing  eruptions, 
and  in  promoting  a  normal  con- 
dition of  skin  and  hair  health, 
among  young  and  old 

For  the  tiiirty-two  pace  Cuticura  Booklet, 
a  fuide  to  ttie  best  care  of  the  skin  and  hair, 
address  Potter  Drur  &  Chemical  Corporation. 
133  Columbus  Ave..  Boston,  U.  S.  A. 


Fig.  54. 


8 


Here  the  type  harmonizes  with  the  illustration  in  shape  as 
well  as  in  tone. 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 

58.  One  will  readily  agree  with  the  statement  that 
where  an  illustration  is  placed  in  an  advertisement, 
it  is  usually  the  center  of  interest  —  the  thing  which 


YOUR  house  is  not  a  home  until  your 
furniture  Jits.  Harmony  gives  beauty, 
dignity,  restAilness  —  all  that  a  home 
should  mean.  Whatever  quarrels  or 
cr<ywds  mars  the  effect.  The  perfect  bed 
for  one  chamber  may  spoil  another  one. 

This  problem  of  beauty //w/i«rvK<  issolred 
by  KimhallSs'Chafptll  solid  brass  beds.  Charm- 
ing designs  match  the  furniture  of  any  good 
Eeriod  or  style.  Many  with  cane  panels.  All 
oncst,  stlid  brass  that  lasts  a  lifetime  and  keeps 
its  golden  surfaces  untarnished  in  any  climate 

Let  us  till  ytu  why.     Our  Spring  Style 
Books  and  samples  of  tubing  for  the  asking 

tf^ritt  ftr  thtm  udaj, 

KIMBALL  6*  CHAPPELL 

284}   LOOMIS   STREET  CHICAGO,  ILL. 


Fig.  55. —  Neither  cut  nor  text  is  predominant, 
each  holding  its  true  value. 

[1161 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 

first  attracts  the  eye.  In  looking  at  an  illustrated 
advertisement  we  almost  invariably  see  the  picture 
first.     Then  from  the  picture  the  eye  travels  to  the 


The  Summer  Home  Beautiful 

May  be  a  palace  or  a  bungalow  It  is 
not  so  much  a  matter  of  architecture  as 
of  creating  home  atmosphere  by  the 
furnishings. 

An  ideal  summer  home  is  not  a  mere 
dream,  but  a  reality  for  a  moderate  ex- 
penditure— that  is,  if  one  understands 
artistic  arrangement  and  the  facilities 
afforded  by  the 

Wanamaker  Gallenes 
of  Furnishings 

Assembled  here  are  upholsteries, 
furniture  and  everything  to  appoint  a 
simple  cottage,  picturesque  bungalow, 
stately  manor  or  Roman  villa. 

The  Buredu  of  Intertor  Decorating 

will  gladly  create  plans  and  submit 
estimates  for  the  furnishing  of  your 
home.  Ho  charges  for  this  Service,  which 
will  be  extended  either  through  a  per- 
sonal interview  or  the  mail 


JOHN    WANAMAKER 

New  York 


Fic.  56. —  The  type  and  decoration  are  well 
suited  to  each  other  in  tone. 


[117] 


INTENTIONAL     SECOND  EXPOSURE 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 

58.  One  will  readily  agree  with  the  statement  that 
where  an  illustration  is  placed  in  an  advertisement, 
it  is  usually  the  center  of  interest  —  the  thing  which 


YOUR  house  is  not  a  home  until  your 
furniture  ^/x.  Harmony  gives  beauty, 
dignity,  restftilness  —  all  that  a  home 
should  mean.  Whatever  quarrels  or 
crowds  mars  the  effect.  The  perfect  bed 
for  one  chamber  may  spoil  another  one. 

This  problem  of  beauty //u;  strvie*  is  solved 
by KimballS^Chafftll*olidbt*ubtd».  Charm* 
ing  designs  match  the  furniture  of  any  good 

Eeriod  or  style.    Many  with  cane  panels.    All 
onest,  itlid  brass  that  lasts  a  lifetime  and  keeps 
its  golden  surfaces  untarnished  in  any  climate 

Let  us  t«U  ytu  why.  Our  Spring  Style 
Books  and  samples  of  tubing  for  the  asking 

IVritt  ftr  thim  fday. 

KIMBALL  6*  CHAPPELL 

X84J   LOOMIS   SI  REET  CHICAGO,   ILl- 


i 


i 


:3 


Fic.  55. —  Neither  cut  nor  text  is  predominant, 
each  holding  its  true  value. 

[116] 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 

first  attracts  the  eye.  In  looking  at  an  illustrated 
advertisement  we  almost  invariably  see  the  picture 
first.     Then  from  the  picture  the  eye  travels  to  the 


J 


The  Summer  Home  Beautiful 

May  be  a  palace  or  a  bungalow  It  is 
not  so  much  a  matter  of  architecture  as 
of  creating  home  atmosphere  by  the 
furnishings. 

An  ideal  summer  home  is  not  a  mere 
dream,  but  a  reality  for  a  moderate  ex- 
penditure— that  is,  if  one  understands 
artistic  arrangement  and  the  facilities 
afforded  by  the 

Wanamaker  Gallenes 
of  Furnishings 

Assembled  here  are  upholsteries, 
furniture  and  everything  to  appoint  a 
simple  cottage,  picturesque  bungalow, 
stately  manor  or  Roman  villa. 

The  Bureau  of  Intertor  Decorating 

will  gladly  create  plans  and  submit 
estimates  for  the  nirnishing  of  your 
home.  Ho  charges  for  this  iervice,  which 
will  be  extended  either  through  a  per- 
sonal interview  or  the  mail 

JOHN   WANAMAKER 

New  York 


D®: 


:®n 


Fig.  56. —  The  type  and  decoration  are  well 
suited  to  each  other  in  tone. 

[117] 


-«ai 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 

balance  of  the  advertisement.  This  being  the  case,  it 
is  unquestionably  desirable  that  the  picture  shall  be 
placed  so  that  it  shall,  of  itself,  cause  the  eye  involun- 
tarily to  move  toward  the  text.    In  Fig.  57  this  has  not 


THE  MINNESOTA  & 
DAKOTA  RAILWAY 

THE  LINE  OF  EXCELLENT  SERVICE 


EVERY  employe  of 
the  Minnesota  & 
Dakota  Railway 
who  comes  into  contact 
with  the  public  is  given  a 
thorough  schooling  con- 
cerning courtesy  and  pro- 
priety of  demeanor.  The 
system  of  "  merits"  and 
"demerits"  is  carefully 
maintained,  and  all  the 
trainmen  are  striving  to 
make  a  record,  not  alone 
for  efficiency,  but  for  per- 
sonal conduct.  Sleeping 
car  porters  and  others  in 
charge  of  the  trains  during 
.their  trips  are  required  to 
exercise  especial  care  in 
keeping  all  the  cars  in  a 
clean  and  orderly  condi- 
tion. Incessant  attention  to  this,  a  very  important  point 
to  those  who  travel,  is  one  of  the  many  factors  which 
make  for  a  pleasant  journey. 

The  trains  are  scientifically  cleaned  and  renovated  at 
the  end  of  each  run.  The  sleeping  car  bedding  is  aired 
in  the  sun.  The  seats,  floor  and  woodwork  are  given  a 
vigorous  scouring  of  compressed  air,  which  removes  all 
uncleanliness.  Carpets  are  taken  up  and  renovated  and 
the  flooring  is  scrubbed  with  soap  and  water. 

M.  M.  MORRISS,  General  Pajsengtr  Agent,  Chicago 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 


been  done,  and  the  movement  of  the  eye,  following 
the  direction  in  which  the  figure  is  facing,  and  also 
suggested  by  the  direction  in  which  the  arm  is  pointing, 
would  be  away  from  the  text  and  out  of  the  advertise- 


FiG.  57. —  This  cut  is  placed  in  such  position 
that  it  leads  the  eye,  by  reason  of  the  direc- 
tion in  which  it  is  facing,  directly  out  of  the 
advertisement.     Compare  with  Fig.  58. 

[118] 


THE  MINNESOTA  & 
DAKOTA  RAILWAY 

THE  LINE  OF  EXCELLENT  SERVICE 


VERY  employe  of 
the  Minnesota  & 
Dakota  Railway 
who  comes  into  contact 
with  the  public  is  given  a 
thorough  schooling  con- 
cerning courtesy  and  pro- 
priety of  demeanor.  The 
system  of  ' '  merits ' '  and 
"demerits'"  is  carefully 
maintained,  and   all   the 
trainmen  are  striving  to 
'SIB^Til!    V^?**'     SI'  ^  fnake  a  record,  not  alone 
^     8l|^^-V^"'''^0  ^'"■^'^ciency,  but  far  per- 
il   ^-^^  I  vt§T*&    %om\  conduct.    Sleeping 
^y^  1^  yj'    Jf     car  porters  and  others  in 

chargeof  the  trains  during 
th.ir  trips  are  required  to 
ex.rcise  especial  care  in 
keeping  all  the  cars  in  a 
clean  and  orderly  condi- 
tion. Incessant  attention  to  this,  a  very  important  point 
to  those  who  travel,  is  one  of  the  many  factors  which 
make  for  a  pleasant  journey. 

The  trains  are  scientifically  cleaned  and  renovated  at 
the  end  of  each  run.  The  sleeping  car  bedding  is  aired 
in  the  sun.  The  seats,  floor  and  woodwork  are  given  a 
vigorous  scouring  of  compressed  air,  which  removes  all 
uncleanliness.  Carpets  are  taken  up  and  renovated  and 
the  flooring  is  scrubbed  with  soap  and  water. 

M.  M.  MORRISS,  General  Pastenger  Agent,  Chicago 


Y 


Fig.  58. —  Here  the  figure  has  been  placed  in 
such  position  that,  once  it  has  attracted  the 
eye,  it  leads  it  naturally  into  the  text. 


INTENTIONAL     SECOND  EXPOSURE 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 

balance  of  the  advertisement.  This  being  the  case,  it 
is  unquestionably  desirable  that  the  picture  shall  be 
placed  so  that  it  shall,  of  itself,  cause  the  eye  involun- 
tarily to  move  toward  the  text.    In  Fig.  57  this  has  not 


THE  MINNESOTA  & 
DAKOTA  RAILWAY 

THE  LINE  OF  EXCELLENT  SERVICE 


EVERY  employe  of 
the  Minnesota  i^ 
Dakota  Railway 
who  comes  into  contact 
with  the  public  is  given  a 
thorough  schooling  con- 
cerning courtesy  and  pro- 
priety of  demeanor.  The 
system  of  "merits"  and 
"demerits"  is  carefully 
maintained,  and  all  the 
trainmen  are  striving  to 
make  a  record,  not  alone 
for  efficiency,  but  for  per- 
sonal conduct.  Sleeping 
car  porters  and  others  in 
charge  of  the  trains  during 
their  trips  are  required  to 
exercise  especial  care  in 
keeping  all  the  cars  in  a 
clean  and  orderly  condi- 
tion. Incessant  attention  to  this,  a  very  important  point 
to  those  who  travel,  is  one  of  the  many  factors  which 
make  for  a  pleasant  journey. 

The  trains  are  scientifically  cleaned  and  renovated  at 
the  end  of  each  run.  The  sleeping  car  bedding  is  aired 
in  the  sun.  The  seats,  floor  and  woodwork  are  given  a 
vigorous  scouring  of  compressed  air,  which  removes  all 
uncleanliness.  Carpets  are  taken  up  and  renovated  and 
the  flooring  is  scrubbed  with  soap  and  water. 

M.  M.  MORRISS,  General  Pajtenger  Agent,  Chicago 


Fig.  57. —  This  cut  is  placed  in  such  position 
that  it  leads  the  eye,  by  reason  of  the  direc- 
tion in  which  it  is  facing,  directly  out  of  the 
advertisement.     Compare  with  Fig.  58. 

[118] 


THE    TYPOGRAPHY    OF   ADVERTISEMENTS 

been  done,  and  the  movement  of  the  eye,  following 
the  direction  in  which  the  figure  is  facing,  and  also 
suggested  by  the  direction  in  which  the  arm  is  pointing, 
would  be  away  from  the  text  and  out  of  the  advertise- 


THE  MINNESOTA  & 
DAKOTA  RAILWAY 

THE  LINE  OF  EXCELLENT  SERVICE 


EVERY  employe  of 
the  Minnesota  & 
Dakota  Railway 
who  comes  into  contact 
with  the  public  is  given  a 
thorough  schooling  con- 
cerning courtesy  and  pro- 
priety of  demeanor.  The 
system  of  ' '  merits ' '  and 
"demerits"  is  carefully 
maintained,  and  all  the 
trainmen  are  striving  to 
make  a  record,  nor  alone 
for  efficiency,  but  for  per- 
sona! conduct.  Sleeping 
car  porters  and  others  in 
charge  of  the  trains  during 
th-.ir  trips  are  required  to 
ex.Tcise  especial  care  in 
keeping  all  the  cars  in  a 
clean  and  orderly  condi- 
tion. Incessant  attention  to  this,  a  very  important  point 
to  those  who  travel,  is  one  of  the  many  factors  which 
make  for  a  pleasant  journey. 

The  trains  are  scientifically  cleaned  and  renovated  at 
the  end  of  each  run.  The  sleeping  car  bedding  is  aired 
in  the  sun.  The  seats,  floor  and  woodwork  are  given  a 
vigorous  scouring  of  compressed  air,  which  removes  all 
uncleanliness.  Carpets  are  taken  up  and  renovated  and 
the  flooring  is  scrubbed  with  soap  and  water. 

M.  M.  MORRISS,  General  Passenger  Agent,  Chicago 


/(M^^ 


Fig.  58. —  Here  the  figure  has  been  placed  in 
such  position  that,  once  it  has  attracted  the 
eye,  it  leads  it  naturally  into  the  text. 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

ment.     In  the  rearrangement  shown  in  Fig.   58  the 
reverse  is  true.     Here  the  figure  has  been  placed  in 


PERFECT 

TAILORING 


Q.  We  would  like  to  have  you 
take  note  of  the  extreme  cere 
we  give  to  tailoriitf,  as  thown 
in  the  finish  of  the  fine  suits  aitd 
overcoats  we  sell.  Notice  the 
perfect  curve  of  hand-shaped 
collara  and  lapels.  Try  on  the 
garmentt:  you'll  find  them  easy, 
pliable,  shaped  to  your  shoul- 
ders —  they  fit.  Then  you  will 
appreciate  the  difference  be- 


tween HartmsH  Clothes  and  the 
ordinary  kinds,  and  lose  sifhi 
oi  the  '  bargains"  in  "thrown- 
together"  stuff,  advertised  all 
around  town  at  half  price.  We 
abow  suits  and  overcoats  ai 
prices  you  can  afford— properly 
tailored  —  garments  (hat  look 
well,  feel  comfortable  and  keep 
•hapc.  We  charge  no  more 
Ifaan  the  others  charge  for  the 
"other"  kind 


HARTMAN 

270  MAIN  STREET.  CHICAGO 


Q.  We  would  like  to  have  you 
take  note  of  the  extreme  care 
we  give  to  lailuring,  as  shown 
in  the  finish  of  the  fine  suits  and 
overcoats  we  sell.    Notice  the 


perfect  curve  of  hand-shaped 
collars  and  lapels.  Try  on  the 
garments;  you'll  find  ihem  easy, 
pliable,  shaped  to  your  shoul- 
ders —  they  fit.  Then  you  will 
appreciate  the  difference  be- 
tween Hartman  Clothes  and  the 
ordinary  kinds,  and  kise  sight 
of  the  bargains' '  in  "thrown- 
together"  stuff,  advertised  all 
around  town  at  half  price.  We 
show  suits  and  overcoats  at 
prices  you  can  afford— properly 
taik>red  —  garments  tliat  look 
well,  feel  comfortable  and  Keep 
shape.  We  charge  no  more 
than  the  others  charge  lor  the 
"other"  kind. 


HARTMAN 

270  MAIN  STREET,  CHICAGO 


B 


Fig.  59. —  A  question  of  the  placing  of  a  cut.  In  A  the  cut 
divides  the  advertisement  directly  in  the  center,  while  in  B-  the 
placing  of  the  cut  at  the  point  shown  divides  the  advertisement 
into  groups  of  unequal  size,  giving  proportion. 


[120] 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 


such  position  that,  once  it  has  attracted  the  eye,  it  leads 
it  naturally  into  the  text. 

By  a  proper  placing  of  the  illustration  or  illustra- 
tions in  an  advertisement  the  compositor  secures  good 
proportion  in  his  design.  Typographically,  an  adver- 
tisement is  a  rectangle,  of  certain  size  and  dimension, 
broken  up  into  spaces,  and  whether  or  not  the  spaces 
are  pleasing  in  their  relations  to  each  other  determines 
the  beauty  of  the  advertisement.  The  arranging  of 
these  spaces  in  such  manner  as  to  be  pleasing  calls  into 
play  the  question  of  proportion.  Perhaps  this  ques- 
tion of  proportion  can  best  be  illustrated  in  the  plac- 
ing of  a  cut  in  an  advertisement,  thus  dividing  the 
advertisement  into  two  parts.  A  reproduction  of  an 
advertisement  of  this  kind,  containing  one  illustration, 
is  shown  in  Fig.  59.  In  **  A  "  the  cut  is  placed  directly 
in  the  center  of  the  advertisement,  and  the  effect  is  not 
satisfactory,  the  reason  being  that  the  groups  of  type- 
matter  above  and  below  the  cut  are  equal  in  size.  In 
order  that  our  advertisement  may  have  proportion  we 
must  not  only  have  variety,  but  pleasing  variety.  We 
must  move  the  cut  away  from  the  center,  either  above 
or  below.  If  we  move  it  below,  it  will  place  the  main 
spot  or  force  of  attraction  near  the  bottom  of  the  adver- 
tisement—  a  thing  which  should  be  avoided  if  possi- 
ble. Therefore  we  will  place  it  above  the  center.  But 
how  much  above  ?  This  is  determined  in  the  same  man- 
ner as  the  question  of  proportion  noted  in  previous 
instances  —  by  dividing  the  space  into  eight  equal 
parts  and  giving  five  of  these  parts  to  the  lower  part  of 

[121] 


INTENTIONAL     SECOND  EXPOSURE 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

ment.     In  the  rearrangement  shown  in   Fig.   58  the 
reverse  is  true.     Here  the  figure  has  been  placed  in 


PERFECT 

TAILORING 


C  We  would  like  to  have  you 
lake  note  of  the  extreme  care 
we  give  to  tailoring,  as  shown 
in  the  finish  of  the  fine  suits  and 
overcoats  we  sell.  Notice  the 
perfect  curve  of  hand-shaped 
collar*  and  lapels.  Try  on  the 
garments:  you'll  find  them  easy, 
pliable,  shaped  to  your  shoul- 
der* —  they  fit.  Then  you  will 
appreciate  the  difference  be- 


tween Hmrtmmn  Clotkts  and  the 
ordinary  kinds,  and  lose  si^ht 
d  the  bargains' '  in  "thrown- 
together"  stuff,  advertised  all 
around  town  at  half  price.  We 
show  suits  and  overcoats  at 
prices  you  can  afford— properly 
tailored  —  garments  that  look 
well,  leel  comfortable  and  keep 
•hapc.  We  charge  no  more 
than  the  others  charge  for  the 
"other"  kind 


HARTMAN 

270  MAIN  STREET,  CHICAGO 


PERFECT 

TAILORING 


4L  We  would  like  to  have  you 
take  note  of  the  extreme  care 
we  give  to  laiioring,  as  shown 
in  the  finish  of  the  fine  suits  and 
overcoats  we  sell.    Notice  the 


perfect  curve  of  hand-shaped 
collars  and  lapels.  Try  on  the 
garments;  you'll  find  them  easy, 
pliable,  shaped  to  your  shoul- 
ders —  they  fit.  Then  you  will 
appreciate  the  difference  be- 
tween Hartman  Clothes  and  the 
ordinary  kinds,  and  lose  sight 
of  the  '  bargains"  in  "thrown- 
together"  stuff,  advertised  all 
around  town  at  half  price.  We 
show  suits  and  overcoats  at 
prices  you  can  afford— properly 
tailored  —  garments  that  look 
well,  feel  comfortable  and  Keep 
•hape.  We  charge  no  more 
than  the  others  charge  for  the 
"other"  kind. 


HARTMAN 

270  MAIN  STREET,  CHICAGO 


B 


Fig.  59. —  A  question  of  the  placing  of  a  cut.  In  A  the  cut 
divides  the  advertisement  directly  in  the  center,  while  in  B-  the 
placing  of  the  cut  at  the  point  shown  divides  the  advertisement 
into  groups  of  unequal  size,  giving  proportion. 


1120] 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

such  position  that,  once  it  has  attracted  the  eye,  it  leads 
it  naturally  into  the  text. 

By  a  proper  placing  of  the  illustration  or  illustra- 
tions in  an  advertisement  the  compositor  secures  good 
proportion  in  his  design.  Typographically,  an  adver- 
tisement is  a  rectangle,  of  certain  size  and  dimension, 
broken  up  into  spaces,  and  whether  or  not  the  spaces 
are  pleasing  in  their  relations  to  each  other  determines 
the  beauty  of  the  advertisement.  The  arranging  of 
these  spaces  in  such  manner  as  to  be  pleasing  calls  into 
play  the  question  of  proportion.  Perhaps  this  ques- 
tion of  proportion  can  best  be  illustrated  in  the  plac- 
ing of  a  cut  in  an  advertisement,  thus  dividing  the 
advertisement  into  two  parts.  A  reproduction  of  an 
advertisement  of  this  kind,  containing  one  illustration, 
is  shown  in  Fig.  59.  In  *'  A  "  the  cut  is  placed  directly 
in  the  center  of  the  advertisement,  and  the  effect  is  not 
satisfactory,  the  reason  being  that  the  groups  of  type- 
matter  above  and  below  the  cut  are  equal  in  size.  In 
order  that  our  advertisement  may  have  proportion  we 
must  not  only  have  variety,  but  pleasing  variety.  We 
must  move  the  cut  away  from  the  center,  either  above 
or  below.  If  we  move  it  below,  it  will  place  the  main 
spot  or  force  of  attraction  near  the  bottom  of  the  adver- 
tisement —  a  thing  which  should  be  avoided  if  possi- 
ble. Therefore  we  will  place  it  above  the  center.  But 
how  much  above  ?  This  is  determined  in  the  same  man- 
ner as  the  question  of  proportion  noted  in  previous 
instances  —  by  dividing  the  space  into  eight  equal 
parts  and  giving  five  of  these  parts  to  the  lower  part  of 

[121] 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

the  advertisement  and  three  to  the  upper  pkrt,  thus 
following  out  the  proportions  of  three  to  five,  com- 
monly acknowledged  to  be  the  most  pleasing.  In  the 
original  the  advertisement  is  forty-four  picas  in  length. 
Dividing  it  into  eight  parts  gives  five  and  one-half 
picas  for  each  part.  Taking  three  parts  —  or  sixteen 
and  one-half  picas  —  for  the  upper  part  of  the  adver- 
tisement, we  place  the  cut  in  such  position  that  the 
center  is  sixteen  and  one-half  picas  from  the  top,  the 
center  of  the  cut  thus  dividing  the  advertisement  into 
two  parts  in  the  ratio  of  three  to  five.  The  result  is 
shown  in  *'  B,"  and  one  can  readily  see  that  it  makes  a 
much  more  attractive  arrangement  than  does  "  A," 
although  the  moving  of  the  cut  is  all  the  change  that 
has  been  made.  Personal  taste  may  enter  into  the 
proposition  and  suggest  an  additional  line  or  tv/o  of 
text  above  or  below  the  cut,  but  to  the  majority  this 
proportion  would  be  the  most  satisfactory. 


[122] 


CHAPTER  X. 

HOW  TO  SET  THE  ADVERTISEMENT. 

FTER  having  discussed  the  various 
points  of  design,  etc.,  which  have  a 
direct  bearing  upon  the  advertise- 
ment, it  is  well  to  take  up  the  ques- 
tion of  the  actual  mechanical 
work,  following  the  advertisement 
through  its  various  processes  from 
copy  to  proof. 
The  copy  given  to  the  compositor  is  usually  type- 
written, with  the  portions  to  be  displayed  indicated. 
When  this  has  not  been  done,  the  compositor  must 
select  his  own  display,  keeping  in  mind  the  points  pre- 
viously discussed  regarding  this  particular. 

With  the  display  selected,  the  next  question  is  to 
determine  the  arrangement  of  the  advertisement.  This 
may  be  done  by  making  a  sketch  after  the  manner  pre- 
viously described,  although  where  the  display  consists 
of  but  a  heading,  a  subheading  or  two  and  the  signa- 
ture, a  sketch  may  be  unnecessary. 

Next  comes  the  question  of  type,  and  with  our 
admitted  preference  for  the  lighter  faces,  we  will 
usually  select  a  plain  old-style  roman. 

Then  comes  the  question  of  borders.    If  the  adver- 

[123] 


' 

< 


•^g^ 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 


tisement  is  to  be  printed  on  a  page  with  other  advertise- 
ments, it  is  desirable  that  the  border  shall  be  selected 
with  a  view  to  its  being  in  harmony  with  the  other 
borders  on  the  page.  In  fact,  where  magazine  pages 
are  composed  of  quarter  or  eighth-page  advertisements, 
it  is  much  better,  for  the  sake  of  a  pleasing  uniformity, 
that  each  of  the  advertisements  be  surrounded  by  the 
same  kind  of  border.  The  advantages  to  be  gained  by 
such  an  arrangement  are  well  illustrated  in  Fig.  60. 
Here  the  uniform  borders  of  plain  light  rule,  assisted 
appreciably  by  the  use  of  but  one  series  of  type,  fur- 
nish an  extremely  pleasing  page.  Ii  more  decoration 
or  variety  is  desired  in  the  borders  for  certain  of  the 
advertisements,  it  may  be  secured  by  the  use  of  an 
additional  border  inside  of  the  one  which  surrounds 
the  advertisement,  as  shown  in  Fig.  61.  But  the  keep- 
ing of  the  outer  borders  —  the  ones  which  define  the 
boundaries  of  the  advertisements  —  uniform  through- 
out the  page  will  always  give  good  results. 

With  the  questions  of  type  and  border  disposed  of, 
our  next  consideration  is  the  actual  setting  of  the 
advertisement.  One  may  go  about  this  in  two  ways  — 
he  may  either  set  the  display  lines  first,  filling  in  with 
the  solid  matter  later,  in  whatever  size  of  type  it  will 
require,  or  he  may  set  the  solid  matter  first  and  then 
regulate  his  display  according  to  the  amount  of  space 
which  he  has  left.  Both  methods  have  their  desirable 
features,  although  one  can  not  slavishly  follow  either 
on  all  occasions.  Sometimes  one  system  is  best,  some- 
times the  other  —  depending  upon  the  nature  of  the 

[124I 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 

copy  —  and  the  compositor  must  learn  which  to  choose. 
We  must  bear  in  mind,  however,  that  a  good  strong 
heading  is  always  desirable,  and  for  this  reason  it  is 
usually  better  to  set  that  first,  letting  it  govern  to  a 
certain  extent  the  nature  of  the  balance  of  the  adver- 
tisement. 

The  heading  may  be  set  in  all  capitals  or  capitals 
and  lower-case.  While  the  lower-case  is  unquestion- 
ably easier  to  read  than  are  the  capitals,  still  it  is 
usually  better  to  sacrifice  a  trifle  in  the  legibility  for  the 
sake  of  getting  better  design,  especially  as  the  headings 
are  usually  short  and  therefore  not  hard  to  read.  The 
line  of  capitals  often  gives  a  sort  of  dignity  to  the  top 
of  the  advertisement,  which  is  lacking  when  lower- 
case is  used. 

And  so  for  the  headings  we  use  either  capitals  or 
lower-case,  depending  upon  which  fills  the  line  or  lines 
most  acceptably,  keeping  in  mind  the  previous  state- 
ment that  in  most  cases  the  line  or  lines  at  the  top  of 
the  advertisement  should  be  of  full  measure. 

It  might  not  be  amiss  in  this  connection  to  record 
a  personal  objection  —  perhaps  a  prejudice  —  against 
the  use  of  italic,  especially  capitals,  for  the  first  line 
of  an  advertisement,  where  said  first  line  fills  the  meas- 
ure. It  always  seems  to  spoil  the  symmetrical  arrange- 
ment of  the  design,  and  —  if  one  may  be  permitted  to 
draw  an  analogy  between  the  architectural  design  of  a 
building  and  the  typographical  design  of  an  advertise- 
ment —  looks  not  unlike  a  building  with  the  upper 
story  knocked  askew. 

[125] 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 

In  setting  advertisements  the  compositor  should 
always  avoid  display  lines  which  are  almost,  but  not 
quite,  of  the  full  measure.    If  a  line  is  a  trifle  short  it 


wt  mucn  »  SH4III 


I  nmm  «  V\nw  It 

The  J.  E.  Linde  Paper 
Company 

9*  OMHr  B«-^»«  Awk^af.  ms  CM  1mm» 
Nt»   NOlm  CITV 


Detergine 

Standard  Type  and  Roller  Wash 


IMP  P«OMait«4 


Duryea  Manulftctunng  Compaogr 


r- 


— Features- 

liWilyiiH  w««Ba  WHlWMi  «:««it«n  i 

ia^^ 


The  International  Syndicate 

>■■■   I  •>  '«»'»n^"      fcliiaim.  Mml»l 


Amencan  Sreel  Chase 
Company 

AlWCT  trail 

Sted  Priniera'  Cliases 


27  BrHuMn  Smrf 


Ne«  Vurt  r>9 


Graham  Sl.  Sons 


Bankets 


CHICM»  lU 


Peninsular  Paper 

Company 

Mafcerii  ol  Uncommon 

COVER  PAPERS 

COVfNANT     01BII»LT«»     MWHtlOKi 
OMUBO     PtNINSULAI 
PAIiCHMCNT     OKKID 


Cheny  Blocking 

jiS'!^-   Henry  H.  Sheip 

trnl.'ii:    Manufactunng 

PHILAOCLPHIA 


Every  Job  Requifet  •  Piool 


Potter  Proof  Press 


Mi  ■  FOTfll  «  MH  dw  »• 


A   F  WANNER  4i.  CO 


Fig.  6o. —  Where  a  page  contains  several 
small  advertisements,  the  use  of  uniform 
borders  is  desirable. 

is  much  better,  in  the  interests  of  good  design,  to  letter- 
space  it  to  the  full  width.  This  is  especially  true  of 
subheadings,  and  one  usually  finds  that  where  a  sub- 

[126] 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

heading  is  just  a  little  short  of  the  full  measure,  and 
letter-spacing  is  undesirable,  the  running  of  the  head- 
ing in  two  short  lines  —  always  having  the  upper  one 


Shannon-Conmy 
Printing  Co. 


Prmiiiig.  Book  Bindir^ 
Paper  Ruling 


n^wKM^w  i«aj 


509  Saiuomr  Siraet.  Sttn  fnncnco 


E.  C.  Hughes 

Company 
Printers  and  Binders 

CMal«g«ai«A4 


M7  Mimu  S<.  San  FanciteaCal 


The  Blair-Murdock 
Company 

PRINTERS 


^D7 


The  Hicks-Judd 
Company 

Printers.  Book  Binders 
Publishers 


Calakigue,  Book  and  Job  Pnnt- 
ing.  Law.  Libraiy  and  all  kind* 
o<  Book  Binding.  Loot*  Leaf 
Ledfen  and  Locking  Oevicea 


il4l  r,m  Sra.< 


Fig.  6 1. —  If  added  decoration  or  variety  is 
desired  in  the  borders  for  certain  of  the  adver- 
tisements, it  may  be  secured  by  the  use  of  an 
additional  border  inside  of  the  one  which  sur- 
rounds the  advertisement, 

the  longer,  however  —  will  give  a  much  better  effect. 
This  is  illustrated  in  Figs.  62  and  63.    In  the  former  the 

fi27l 


INTENTIONAL     SECOND  EXPOSURE 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

In  setting  advertisements  the  compositor  should 
always  avoid  display  lines  which  are  almost,  but  not 
quite,  of  the  full  measure.     If  a  line  is  a  trifle  short  it 


WE  lOLICfT  A  9HAm  0»  VrH.ir  V«T«OMAOI 

PUmm  i-    \\  rw   l-« 

The  ].  E.  Lmde  Paper 
Company 

Ntw  Noiik  cirv 

•"t:ji-SKi=*  ^ '   •"smlB" "— 

I         Detergine 

SMndard  Type  and  Rolln  Wash 


Duryca  Manulactuniig  Company 


■Sfl*     >(.>•«    I   If* 


-Features — 


The  Intemanonal  Syndicate 


Amencan  Steel  Chase 
Company 


Ameriraii 
Steel  Printers'  Cluises 


27  (WefcfiMn  b<f«rt 


Nr».  YoA  Cify 


Graham  Sl.  Sons 


Bankers 


HriM*  «•««•»• 


Peninsular  Paper 

Company 

Makers  ol  Uncommon 

COVER  PAPERS 

COVfNANT     OlMALTAIi     MMJMtlOMi 
OMHBO     PlMNMJtAR 

p*»CH«aeNr    ohkiu 


Cherry  Blocking 

*«»iiiliiiiail  b«  *• 

'^'j::':V^  Henry  H.  Sheip 
1L*.«"S.'C:    Mwjufacfunns 
-■2*5-:    Company 

mSp  ot  CM^HV^  rf"  III    ,*       *  ■  *  ^         ^ 

*ii^  r<««  Unm         <•  m  ia*ii  »••«•  mt  IiM  teM 
mitkOCLTHIA 

MICM  4NO  teMVLM  CI— ■fm.l.>  nAMMKO 


Every  Job  Requiro  a  Prool 

Potter  Proof  Press 


A  F  WANNER  &,  CO 

•  OMkaM  »i«  CM1CMX»  HUNOn 


Fig.  6o. —  Where  a  page  contains  several 
small  advertisements,  the  use  of  uniform 
borders  is  desirable. 


is  much  better,  in  the  interests  of  good  design,  to  letter- 
space  it  to  the  full  width.  This  is  especially  true  of 
subheadings,  and  one  usually  finds  that  where  a  sub- 

[126] 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 

heading  is  just  a  little  short  of  the  full  measure,  and 
letter-spacing  is  undesirable,  the  running  of  the  head- 
ing in  two  short  lines  —  always  having  the  upper  one 


1 

Shannon-Conmy 

Printing  Co. 

Pnniing.  Bot»k  Binding 
Paper  Rulir^ 

Wk-r  h,am,  JBU 

509  SsnsomF  Sfrerr   San  FrancncA 

E.  C.  Hughes 

Company 
Printers  and  Binders 

C  M.l.tM.  mi  aMfclM. 

147  MioM  St .  Sen  Ftwiuico.  Cal 

1 

^W^ti«                                              Mm^mIWI 

The  Hicks-Judd 
Company 

Pnnters.  Book  Binders 
Publishers 

TTie  Blair-Murdock 
Company 

PRINTERS 

f 

Oulofur.  Book  and  Jal>  Pnnr. 
ifig.  l^w.  Ubrary  and  alt  ktnda 
of  Book  Bindmc.  LxioM  Leal 
Lodgen  and  Lxickuig  Devicaa 

ftiaiPuw^MM                           SmFmikkaC^ 

• 

Fig.  6i. —  If  added  decoration  or  variety  is 
desired  in  the  borders  for  certain  of  the  adver- 
tisements, it  may  be  secured  by  the  use  of  an 
additional  border  inside  of  the  one  which  sur- 
rounds the  advertisement. 

the  longer,  however  —  will  give  a  much  better  effect. 
This  is  illustrated  in  Figs.  62  and  6^.    In  the  former  the 


[1271 


THE   TYPOGRAPHY   OF   ADVERTISEMENTS 

subheading  is  not  pleasing,  while  in  the  latter  it  is  very 
satisfactory.  One  might  go  even  a  little  further  in  this 
question  of  subheadings,  and  state  that,  even  though 


The  HUMAN  FIGURE 

Drawini  and  CoDttruclion  by  Joba  H.  Vaodcrpocl 


MR.  JOHN  H.  VANDERPOEL  hti  been  for 
nearly  thiny  year*  one  (A  the  most  di»tin- 
guiihed  teachers  of  drawing  in  America  ; 
himself  a  consummate  draftiman,  he  has  in- 
structed thousands  of  men  and  women,  so 
that  the  list  of  famous  American  artist,  contains  a  large 
percentage  of  those  who  have  been  his  pupils.  Hi» 
specialty  is  the  drawing  and  construction  of  the  human 
figure,  and  in  this  he  stands  high  among  the  world's 
masters.  His  knowledge  of  the  nude,  and  the  clear, 
systematic  manner  in  which  he  give*  it  cxprcaston,  is 
unsurpaaied  in  modern  art  instruction. 

It  Is  Well  Illustrated  and  Printed 

Mr.  Vanderpoel'i  new  book  is  a  full  and  concise  ex- 
position of  his  system  The  text  is  a  thorough  analysis 
of  the  human  figure  from  the  artist's  standpoint,  feature 
by  feature  and  as  a  whole.  It  is  illustrated  with  54  full- 
page  plates,  variously  reproduced  in  half-tone,  nuetzo- 
graph  and  tint  —  all  of  them  masterly  drawings  of  the 
greatrM  value  to  the  student.  In  addition  to  these  it 
contains  330  marginal  sketches,  none  of  which  have 
ever  been  published,  showing  parts  of  the  body  in  vari- 
ous positiofts  and  actions.  Altogether  it  is  the  moat  com- 
plete illustrated  work  on  the  subject  now  extant.  To 
the  student  and  the  working  artist,  as  well  as  to  the 
general  public  which  may  use  such  a  book  for  reference, 
the  publication  of  Mr.  Vanderpoel's  life-work  is  of  the 
utmost  importance. 

Mechanically  the  book  is  a  beautiful  one,  finely  printed 
OB  heavy  paper,  solidly  bound  in  an  artistic  manner. 

PRICE.  t2.00 

THE  INLAND  PRINTER  COMPANY 

,624-632  Sherman  Street,  Chicago,  111. 
Nnr  Yock  OtKn.  1729  TiibaM  BKl- 


THE  TYPOGRAPHY   OF  -  ADVERTISEMENTS 

the  line  is  full,  it  will  usually  be  found  better  to  break 
it  up  into  two  lines.  In  doing  this,  however,  one  must 
always  be  careful  to  avoid  breaking  up  the  wording  in 


Fig.  62. —  The  subheading,  which  almost, 
but  not  quite,  fills  the  line  is  not  as  pleasing 
as  that  shown  in  Fig.  63. 

[128] 


The  HUMAN  FIGURE 

DrawinI  and  Conitruction  by  John  H.  Vanderpoel 


MR.  JOHN  H.  VANDERPOEL  has  been  for 
nearly  thirty  years  one  of  the  most  distin- 
^ished  teachers  of  drawing  in  America ; 
himself  a  consummate  draftsman,  he  has  in- 
stnicted  thousands  of  men  and  women,  so 
that  the  list  of  famous  American  artists  contains  a  large 
percentage  of  tbose  who  have  been  his  pupils.  His 
specialty  is  the  drawing  and  construction  of  the  human 
figure,  and  in  this  he  stands  high  among  the  world's 
masters.  His  knowledge  of  the  nude,  and  the  clear, 
systematic  manner  in  which  he  gives  it  expression,  is 
unsurpassed  in  modern  art  instruction. 

It  Is  Well  Illustrated  and 
Printed 

Mr.  Vanderpoel's  new  book  is  a  full  and  concise  ex* 
poaition  of  his  system  The  text  is  a  thorough  analysis 
of  the  human  figure  from  the  artist's  standpoint,  feature 
by  feature  and  as  a  whole.  It  is  illustrated  with  54  full- 
page  plates,  variously  reproduced  in  half-tone,  metio- 
graph  and  tint  — all  of  them  masterly  drawings  of  the 
greatest  value  to  the  student.  In  addition  to  these  it 
contains  330  marginal  sketches,  none  of  which  have 
ever  been  published,  showing  parts  of  the  body  in  vari- 
ous positions  and  actions.  Altogether  it  is  the  moat  com- 
plete illustrated  work  on  the  subject  now  extant.  To 
the  student  and  the  working  artist,  fes  well  as  to  the 
general  public  which  may  use  such  a  book  for  reference, 
the  publication  of'Mr.  Vanderpoel's  life-work  is  of  the 
Utmost  rmportaiKe. 

.Mechanically  the  book  is  a  beautiful  one,  finely  printed 
on  heavy  paper,  solidly  bound  in  an  artistic  manner. 

PRICE.  S2.00 

THE  INLAND  PRINTER  COMPANY 

624-632  Sherman  Street,  Chicago,  III. 

New  York  Ofict.  1729  Tribune  BKf. 


Fig.  63. —  A  more  satisfactory  arrangement  of 
the  subheading  than  that  shown  in  Fig.  62. 


[129] 


INTENTIONAL     SECOND  EXPOSURE 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 

subheading  is  not  pleasing,  while  in  the  latter  it  is  very 
satisfactory.  One  might  go  even  a  little  further  in  this 
question  of  subheadings,  and  state  that,  even  though 


The  HUMAN  FIGURE 

Drawing  aad  Coottruction  by  Joba  H.  Vasderpoel 


MR.  JOHN  H.  VANDERPOEL  h«i  been  for 
nearly  thirty  years  one  of  the  most  distin- 
guished teachers  of  drawing  in  America  ; 
himself  a  consummate  draftsman,  he  has  in- 
structed thousands  of  men  and  women,  so 
that  the  list  of  famous  American  artists  contains  a  large 
percentage  of  those  who  have  been  his  pupils.  Hi* 
specialty  is  the  drawing  and  construction  of  the  human 
figure,  and  jn  this  he  stands  high  among  the  world's 
masters.  His  knowledge  of  the  nude,  and  the  clear, 
systematic  manner  in  which  he  gives  it  expreasion,  is 
unsurpaasrd  in  modern  art  instruction. 

It  Is  Well  Illustrated  and  Printed 

Mr.  Vtnderpoel's  new  book  is  a  full  and  concise  ex- 
position of  his  system  The  text  is  a  thorough  analysis 
of  the  human  figure  from  the  artist's  standpoint,  feature 
by  feature  and  as  a  whole.  It  is  illustrated  with  54  full- 
page  plates,  variously  reproduced  in  half-tone,  metzo- 
graph  and  tint  —  all  of  them  masterly  drawings  of  the 
greatest  value  to  the  student.  In  addition  to  these  it 
contains  330  marginal  sketches,  none  of  which  hare 
ever  been  published,  showing  parts  of  the  body  in  vari- 
ous positiorM  and  actions.  Altogether  it  is  the  moat  com- 
plete illustrated  work  on  the  subject  now  extant.  To 
the  student  and  the  working  artist,  as  well  as  to  the 
general  public  which  may  use  such  a  book  for  referencJ, 
the  publication  of  Mr.  Vanderpoel'i  life-work  is  of  the 
utmost  importance. 

Mechanically  the  book  is  a  beautiful  one,  fiiiely  printed 
on  heavy  paper,  solidly  bound  in  an  artistic  manner. 

PRICE.  S2.00 

THE  INLAND  PRINTER  COMPANY 

.624-632  Sherman  Street,  Chicago,  III. 
Nnr  Ywk  0«tf .  1729  Tiibsne  BI4(. 


Fig.  62. —  The  subheading,  which  almost, 
but  not  quite,  fills  the  line  is  not  as  pleasing 
as  that  shown  in  Fig.  63. 

[128] 


THE  TYPOGRAPHY   OF  -  ADVERTISEMENTS 

the  line  is  full,  it  will  usually  be  found  better  to  break 
it  up  into  two  lines.  In  doing  this,  however,  one  must 
always  be  careful  to  avoid  breaking  up  the  wording  in 


The  HUMAN  FIGURE 

Drawing  and  Cooatruction  by  John  H.  Vanderpoel 


MR.  JOHN  H.  VANDERPOEL  has  been  for 
nearly  thirty  years  one  of  the  most  distin- 
guished teachers  of  drawing  in  America  ; 
himself  a  consummate  draftsman,  he  has  in- 
structed thousands  of  men  and  women,  so 
that  the  list  of  famous  American  artists  contains  a  large 
percentage  of  t^ose  who  have  been  his  pupils.  His 
specialty  is  the  drawing  and  construction  of  the  human 
figure,  and  in  this  he  stands  high  among  the  world's 
masters.  His  knowledge  of  the  nude,  and  the  clear, 
systematic  manner  in  which  he  gives  it  expreaaion,  is 
unsurpassed  in  modern  art  instruction. 

It  Is  Well  Illustrated  and 
Printed 

Mr.  Vanderpod'a  new  book  is  a  full  and  concise  ex- 
position of  his  (ystem  The  text  ia  a  thorough  analysis 
of  the  human  figure  from  the  artist's  standpoint,  feature 
by  feature  and  as  a  whole.  It  is  illustrated  with  54  full- 
page  plates,  variously  reproduced  in  half-tone,  metro- 
graph  and  tint  — all  of  them  masterly  drawings  of  the 
greatest  value  to  the  student.  In  addition  to  these  it 
contains  330  marginal  sketches,  none  of  which  have 
ever  been  published,  showing  parts  of  the  body  in  vari- 
ous positions  and  actions.  Altogether  it  is  the  moat  com- 
plete illustrated  work  on  the  subject  now  extant.  To 
the  student  ami  the  working  artist,  U  well  as  to  the 
general  public  which  may  use  such  a  book  for  reference, 
the  publication  of'Mr.  Vanderpoel's  life-work  i«  of  the 
utmost  importance. 

-Mechanically  the  book  is  a  beautiful  one,  finely  printed 
on  heavy  paper,  solidly  bound  in  an  artistic  manner. 

PRICE,  $2.00 

THE  INLAND  PRINTER  COMPANY 

624-€32  Sherman  Street,  Chicago,  III. 

New  York  Office,  1729  Tribune  Bl<(. 


Fig.  63. —  A  more  satisfactory  arrangement  of 
the  subheading  than  that  shown  in  Fig.  62. 


[129] 


THE   TYPOGRAPHY   OF   ADVE'RTISEMENTS 


such  manner  that  it  destroys  the  proper  meaning  of  the 
sentence. 

After    arranging   the    heading    satisfactorily,    one 

I  Hundreds  of  System-Readers  J 

HAVE  in  the  course  of  the  last  twelve  months  become  owners  u 
and  users  of  "Factory  Rebuilt"  T)pewrilcrs.  Our  adver- 
tisin^inSystemhasled  them  to  investigate  our  claims.  Their  in- 
vestigations provedsat'sfactory .  Their  names  are  on  our  books 
THOUSANDS  of  System- Readers  remain  to  be  con\-erfed 
to"Factory  Rebuilts".  To  get  their  attention — that  con- 
iciout  attention  which  is  (olloned  by  action — shall  be  the  aim 
of  our  future  talks  on  "Factory  Rebuilts"  In  this  we  shall 
succeed,  if  we  can  find  the  words  to  lully  cxp.»ss  our  o«ti  con- 
fidence in  our  product— a  confidence  so  well  founded  that  it 
cannot  fail  to  beget  the  confidence  of  our  audience. 

HERE,  a  word  about  ourselves  seems  to  be  apropos.  We 
are  manufacturers — builders  and  rebuilders — of  T>-pe- 
writers,  operating  one  of  the  largest,  best  equipped,  modem 
tjpewriter  plants,  and  also  stores  in  aU  large  cities.  Our  staff 
and  working  force  are  trained  men,  experts  of  tested  ability 

WE  ARE  financially  responsible.  Our  thirty  years'  record 
and  unlimited  resources  say  so.  This  places  upon  us 
the  obligation  to  "make  good"— an  obligation  which  in  turn 
compels  us  to  promise  no  more  than  we  can  fulfill. 

YEARS  ago  we  trademarked  our  rebuilt  typewriters  under 
the  name  "Factory  Rebuilt".  This  was  done  to  distin- 
guish them  from  the  common  run  of  second-hand  machines, 
overhauled,  repaired,  patched  up  by  tinkerers  and  marketed 
by  irresponsible  dealers  as  Rebuilts. 
\X/E  MEAN  to  protect  thf  public  against  niisrq)r««rt»lion — our- 

*  '  selves  against  prejudice  and  unjust  claims.  Our  trademark  beinc 
not  only  a  declaration  of  quality,  hut  of  ifuaranUtd  quality,  it  is  well 
lof  you  to  remcmbrr  that  "The  guaranty  follows  the  trademark." 

IN  OUR  (uture  Ulks  on  'Factory  Rebuilts",  we  shall  tell  you  in  deuil 
^  bow  these  selected  machines  of  standard  makes  come  to  us,  how  they  are 
rebuilt  from  top  to  Ixittom,  how  their  eftciency,  performance,  strength 
and  appearance  are  brought  t»ck  to  the  standara  demanded  from  new 
machines,  how  we  guarantee  them  fully  and  bow,  aotwithsUnding,  we 
save  you  from  25'^^  to  IW^  on  the  list  prices  of  the  afifiaal  manulacturen. 

Wrifc  t»  fcilrilil  Kilnii  ml  Mnm  d  aa—l  itmk  M»> 


American  Writbf  Machine  Company 

345-347  Broadway,  New  York 


Fig.  64. —  The  use  of  a  smaller  size  of  type 
for  the  last  lines  of  the  group  of  body  matter 
is  not  only  permissible,  but  at  times  desirable. 

must  decide  upon  what  size  of  type  he  will  use  for  the 
body  matter.     This,  in  the  ordinary  advertisement,  is 

[130! 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 

easily  done  by  setting  up  a  line  or  two  in  the  size  which 
one  thinks  will  answer,  counting  the  words  in  the  line 
and  comparing  them  with  the  number  of  words  in  the 
copy.  Thus,  if  we  find  that  lines  set  in  twelve-point 
type  will  average  eight  words,  and  there  are  one  hun- 
dred and  sixty  words  in  the  copy,  we  know  that  we 
must  allow  at  least  twenty  picas  of  space  for  the  solid 
matter.  It  is  always  better  to  be  liberal  about  this 
allowance,  as  it  is  much  easier  to  space  an  advertise- 
ment out  than  it  is  to  space  it  back  —  and  not  infre- 
quently one  finds  it  impossible  to  get  in  all  of  the  dis- 
play after  the  solid  matter  has  been  set. 

Where  one  has  miscalculated  the  sjpace  required 
for  the  matter,  and  finds  that  he  can  n6t  get  all  of  the 
copy  in,  it  is  sometimes  permissible  to  use  a  smaller 
size  of  type  for  the  last  lines  of  the  text-matter,  as  is 
shown  in  Fig.  64.  This  is  not  considered  objectionable 
—  in  fact,  some  advertisers  prefer  the  copy  handled 
that  way,  as  it  gives  them  the  opportunity  of  commen- 
cing the  "  talk  "  with  the  larger  and  more  easily  read 
type.  Sometimes  three,  and  even  four,  sizes  are  used, 
commencing  perhaps  with  fourteen-point  and  dropping 
to  twelve-point,  then  to  ten-point,  and  finally  winding 
up  with  the  last  few  lines  in  eight-point. 

The  display  matter  at  the  bottom  of  the  advertise- 
ment usually  consists  of  the  name,  address,  etc.,  of  the 
advertiser,  and  the  compositor  generally  looks  upon 
this  bit  of  display  as  an  opportunity  to  "even  up 
things."  If  his  advertisement  is  crowded,  he  condenses 
this  matter  at  the  bottom ;    if  he  has  plenty  of  space, 


9 


[131] 


INTENTIONAL     SECOND  EXPOSURE 


THE   TYPOGRAPHY   OF   ADVEHTISEMENTS 

such  manner  that  it  destroys  the  proper  meaning  of  the 
sentence. 

After    arranging   the    heading    satisfactorily,    one 


Hundreds  of  System-Readers 

HAVE  in  the  course  of  the  last  twelve  months  become  owners 
and  users  of  "Factory  Rebuilt"  T)-pe«rrilcrs.  Our  adver- 
tising in  System  has  led  ihem  tu  investigate  our  claims.  Their  in- 
vestigations proved  satisfactory.  Their  names  are  on  our  books 
THOUSANDS  of  Sy, item- Readers  remain  to  be  con\-erted 
to  "Factory  Rebuilts".  To  gel  their  attention — that  con- 
scious attention  which  is  followed  by  action— shall  be  the  aim 
of  our  future  talks  on  "Factory  Rebuilts"  In  this  we  shall 
succeed,  if  we  can  find  the  words  to  lully  expi  'ss  our  o«-n  con- 
fidence in  our  product— a  confidence  so  well  founded  that  it 
cannot  fail  to  beget  the  confidence  of  our  audience. 

HERE,  a  word  about  ourselves  seems  to  be  apropos.  We 
are  manufacturers— builders  and  rebuilders — of  Tj-pe- 
writers,  operating  one  of  the  largest,  best  equipped,  modem 
typewriter  plants,  and  also  stores  in  all  large  cities.  Our  stafl 
and  working  force  are  trained  men,  experts  of  tested  ability 

WE  ARE  financially  responsible.  Our  thirty  years'  record 
and  unlimited  resources  say  so.  This  places  upon  us 
the  obligation  to  "make  good"— an  obligation  which  in  turn 
compels  us  to  promise  no  more  than  we  can  fulfill. 

YEARS  ago  we  trademarked  our  rebuilt  typewriters  under 
the  name  "Factory  Rebuilt".  This  was  done  to  distin- 
guish them  from  the  Common  run  of  second-hand  machines, 
owrhauled,  repaired,  patched  up  by  tinkerers  and  marketed 
by  irresponsible  dealers  as  Rebuilts. 

II/E  MEAN  to  protect  the  public  a{!iin«t  misrepresentation— our- 
*  *  wivtt  iniiut  prejudice  and  unjust  claimf.  Our  trademark  btinn 
not  ooly  a  dedaration  of  quality,  hut  of  fuaramind  quality,  it  i>  well 
for  you  to  remember  that  'The  guaranty  followji  the  trademark." 
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lebuilt  from  top  to  lx>ttom,  how  their  efficiency,  performance,  strength 
and  appearance  are  brought  tiack  to  the  standard  demanded  from  new 
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American  Writing  Machine  Company 

34S-347  Browiwar,  N«w  Yorli 


Fig.  64. —  The  use  of  a  smaller  size  of  type 
for  the  last  lines  of  the  group  of  body  matter 
is  not  only  permissible,  but  at  times  desirable. 

must  decide  upon  what  size  of  type  he  will  use  for  the 
body  matter.     This,  in  the  ordinary  advertisement,  is 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 

easily  done  by  setting  up  a  line  or  two  in  the  size  which 
one  thinks  will  answer,  counting  the  words  in  the  line 
and  comparing  them  with  the  number  of  words  in  the 
copy.  Thus,  if  we  find  that  lines  set  in  twelve-point 
type  will  average  eight  words,  and  there  are  one  hun- 
dred and  sixty  words  in  the  copy,  we  know  that  we 
must  allow  at  least  twenty  picas  of  space  for  the  solid 
matter.  It  is  always  better  to  be  liberal  about  this 
allowance,  as  it  is  much  easier  to  space  an  advertise- 
ment out  than  it  is  to  space  it  back  —  and  not  infre- 
quently one  finds  it  impossible  to  get  in  all  of  the  dis- 
play after  the  solid  matter  has  been  set. 

Where  one  has  miscalculated  the  space  required 
for  the  matter,  and  finds  that  he  can  nOt  get  all  of  the 
copy  in,  it  is  sometimes  permissible  to  use  a  smaller 
size  of  type  for  the  last  lines  of  the  text-matter,  as  is 
shown  in  Fig.  64.  This  is  not  considered  objectionable 
—  in  fact,  some  advertisers  prefer  the  copy  handled 
that  way,  as  it  gives  them  the  opportunity  of  commen- 
cing the  "  talk  "  with  the  larger  and  more  easily  read 
type.  Sometimes  three,  and  even  four,  sizes  are  used, 
commencing  perhaps  with  fourteen-point  and  dropping 
to  twelve-point,  then  to  ten-point,  and  finally  winding 
up  with  the  last  few  lines  in  eight-point. 

The  display  matter  at  the  bottom  of  the  advertise- 
ment usually  consists  of  the  name,  address,  etc.,  of  the 
advertiser,  and  the  compositor  generally  looks  upon 
this  bit  of  display  as  an  opportunity  to  ''even  up 
things."  If  his  advertisement  is  crowded,  he  condenses 
this  matter  at  the  bottom ;   if  he  has  plenty  of  space. 


9 


[131] 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

he  spreads  it  out  —  and  he  is  thankful  more  times  than 
he  would  care  to  admit,  perhaps,  for  this  opportunity 
of  covering  up,  by  this  display  at  the  bottom,  his  errors 

of  judgment. 

The  printer  should  always  be  careful  that  the  proof 
of  the  advertisement  is  a  good  one  — as  good  as  he 
can  make  it.  Many  an  advertisement  which  looks 
altogether  undesirable  when  poorly  proved  on  inferior 
paper  will  be  very  acceptable  if  the  proof  is  carefully 
pulled  on  good  stock.  The  advertiser  may  not  be  able 
to  imagine,  from  a  rough  proof,  just  how  the  adver- 
tisement will  look  when  printed,  and  to  present  it  to 
him  in  attractive  form  in  the  proof  is  to  increase  the 
probabilities  of  an  O.  K.  without  any  changes.  If  the 
advertisement  is  to  be  run  in  colors,  the  submitting 
of  a  proof  in  colors  is  desirable.  With  ordinary  adver- 
tisements, the  pulling  of  a  proof  in  colors  is  not  at  all 
difficult.  Perhaps  the  easiest  way  is  as  follows :  Sup- 
posing that  the  advertisement  is  to  be  printed  in  red 
and  black,  with  one  line  in  red,  we  would  ink  the  whole 
form  with  black,  carefully  wipe  the  ink  from  the  line 
to  be  printed  in  red,  and  then  ink  that  line  in  red, 
using  a  small  piece  of  roller  which  may  be  kept  on 
hand  for  that  particular  purpose. 

The  possibilities  of  color  in  advertising  are  as  yet 
practically  untried,  although  it  has  been  demonstrated 
that  illustrations  printed  in  colors  which  show  the 
prospective  buyer  just  what  is  the  appearance  of  the 
article  advertised  will  attract  infinitely  more  attention 
than  the  illustrations  printed  in  black.    As  an  evidence 

[132] 


THE   TYPOGRAPHY    OF   ADVERTISEMENTS 

of  this,  a  catalogue  of  rugs,  issued  by  a  department 
store,  will  suffice.  Illustrations  of  some  forty  rugs 
were'  shown,  four  of  them  being  in  colors,  and  the 
orders  for  these  four  rugs  outnumbered  the  orders  for 
all  the  others  ten  to  one. 


And  so,  in  our  discussion  of  the  typography  of 
advertisements,  we  come  to  the  position  that  if  our 
design  is  to  be  pleasing  it  must  conform  to  basic  prin- 
ciples. As  stated  previously,  the  psychologists  who 
have  turned  their  attention  to  the  study  of  advertising 
lay  great  stress  upon  the  effect  of  the  design  upon  the 
mind.  True,  they  do  not  minimize  the  importance  of 
the  words,  but  the  first  impression  —  the  basis  from 
which   they  must  start  in  their   deductions  —  is  the 

design.  • 

No  one  will  question  the  fact  that  a  painting,  a 
building,  a  piece  of  furniture  or  decorative  work  of 
any  nature,  must,  if  it  is  to  please  the  eye,  conform 
to  certain  principles  of  design.  When  we  look  at  it, 
we  like  it  or  we  don't  like  it,  and  whether  it  pleases  us 
or  otherwise  depends  largely  upon  how  closely  it  fol- 
lows in  its  form  the  principles  which  we  have  been 
taught  to  look  for  and  admire  in  other  things. 

And  if  this  be  true  of  these  other  things,  it  is  just 
as  true  of  typographical  design.  The  advertisement 
which  will  attract  the  attention  at  first  glance,  and  hold 
it  —  which  will  please  the  eye  —  is,  logically,  the  one 
which  has  been  arranged  in  conformity  to  basic  prin- 

[133] 


i 


THE  TYPOGRAPHY  OF  ADVERTISEMENTS 

ciples,  and  is  simple,  well  proportioned  and  harmoni- 
ous, both  in  shape  and  tone,  in  its  treatment. 

Type  display  may  be  likened  in  a  measure  to  music. 
One  does  not  feel  that  noise  is  necessarily  music,  or 
that  good  music  depends  upon  much  noise. 

Advertisements  may,  and  do,  vary  as  much  as  do 

salesmen.  ,      ,     t       u    4.- 

We  find  among  the  latter  the  loud,  bombastic 
variety,  literally  bullying  the  prospective  customer  into 

making  a  purchase. 

And  we  find  also  the  refined,  quiet-mannered  sales- 
man-keenly  alert  in  the  selling  of  goods,  but  having 
at  the  same  time  a  persuasiveness  tempered  with  a 
wholesome  regard  for  our  finer  feelings.  ^^ 

The  one  salesman  shouts,  ''  You  want  this    ;   the 

other  says, ''  May  I  suggest  " and  you  and  I  would 

rather,  much  rather,  deal  with  the  latter. 

Just  so  with  advertisements.     Some  of  them  are 

clamoring  display,  offensive  to  good  taste,  while  others 

■  —  the  good  kind  —  have  the  charm  and  elegance  that 

are  synonymous  with  the  highest  efficiency  m  sales- 

manship. 


[i34l 


li 


Letters  &  Letter 
Construction 

fVith  Chapters  on  Design  and  Decoration 
By  F.  J.  Trezise 

THOSE  interested  in  up-to-date  printing  should  learn 
how  to  do  hand-lettering,  for  there  ^  a  constantly 
growing  den,and  for  that  product.     Havmg  learned 
hand-letterini,  which  is  craftsmanship  there  ,s  need  for  uie 
in  design,  etc.,  in  order  to  apply  that  knowledge.        Lette  s 
and  Lett  r  Construction"  supplies  just  this  mformat.on^    It 
snot  merely  a  collection  of  alphabets ;  it  is  a  -ference  book 
of  letters  in  design,  a  book  full  of  ideas  which  you  can  use. 
IrraLd  on  a  knowledge,  drawn  from  -ual  expenence 
of  exactly  what  the  student  needs  »«  -""  ^.m   u    he   m 
the  work  of  lettering  and  design.    In  addition  to  the  lettering 
information  the  book  contains: 

^Ste7::TeSt^ign,withiUustrations.^^^^^ 
ing  the  proper  decoration  to  be  used  with  the  various  letters. 

A  chapter  on  designing  initial  letters,  etc. 

A  series  of  plates  showing  the  characteristic  decorat  ve 
forms  of  various  periods  and  people,  from  the  earhest  Egyp- 
irto  the  most  modern.   These  plates  are  extremely  useful 

"f  Sns  160  pages  and  131  illustrations;  artistically 

bound.  Price,  S2.25.    Postage,  ^o  cents  extra 

The  Inland  Printer  Company 

632  South  Sherman  Street    ::     Chicago,  111. 


Design  and  Color 
in  Printing 


By  F.  J.  Trezise 

THIS  is  one  of  the  most  helpful  books  on  the  market 
for  the  decorative  typographer.  It  is  written  in 
the  direct,  lucid  style  of  Mr.  Trezise,  who  possesses 
in  an  unusual  degree  the  faculty  of  imparting  knowledge. 
Every  sentence  is  full  of  meat.  The  chapters  treat  of 
the  following  subjects: 

Appropriate  Type-faces. 

Association  of  Type-faces. 

Simplicity  in  Design. 

Proportion. 

Tone  Harmony. 

Shape  Harmony. 

Typographical  Designing. 

The  Science  of  Color. 

Primary,  Secondary  and  Tertiary  Colors. 

The  Color-wheel. 

Complementary  Harmony. 

Harmonies  of  Shades  and  Tints. 

Arrangement  of  Colors. 

S8s  pages,  paper,  Si. 25.    Postage,  5  cents  extra 

t 

The  Inland  Printer  Company 

632  South  Sherman  Street     ::     Chicago,  111. 


•       • 


Imposition 

A  Handbook  for  Printers 

By  F.  J.  Trezise 

THOUGH  this  handy  volume  contains  84  informing 
and  worth-while  illustrations,  its  principal  purpose 
is  to  present  clearly  and  simply  the  fundamental 
principles  underlying  imposition.  The  work  gets  down 
to  the  basis  of  the  beginner,  and  contains  thorough  explana- 
tions of  regular  forms  intended  for  machine  and  hand 
folding  Its  comprehensive  indexing  makes  it  a  model 
for  ready  reference.     Among  the  subjects  discussed  and 

explained  are  these: 

Forms  for  Platen  Press. 

Four-page  Forms. 

Eight-page  Forms. 

Folder  Forms. 

Twelve-page  Forms. 

Sixteen-page  Forms. 

Eighteen-page  Forms. 

Twenty-page  Forms. 

Twenty-four-page  Forms. 

Thirty-two-page  Forms. 

Thirty-six-page  Forms. 

Imposition  for  Folding  Machines  — 
Dexter  Folders,  Chambers 
Folders,  Brown  Folders. 

^2  pages,  fully  illustrated,  4x6  inches,  flexible  binding, 
gold  side-stamped,  $1.25.    Postage,  5  cents  extra 

The  Inland  Printer  Company 

632  South  Sherman  Street     ::     Chicago,  III. 


Modern  Type  Display 

A  Manual  in  the  Selection  and  Use  of  Type 
and  Ornament  for  Printers  and  Advertisers 

By  J.  L.  Frazier 

Editor  Job  Composition  and  Specimen  Re'vie^w  Departments 

of  The  Inland  Printer 

THIS  goes  right  to  the  heart  of  the  subject  and  tells 
how  to  make  display  typography  right.  In  eighty- 
odd  9  by  12  inch  pages  of  "meaty"  text  type  no 
larger  than  necessary  for  easy  reading— this  book  explains 
the  devices  by  which  type  display  attracts  attention  and 
those  which  make  it  clear  and  ea^y  to  read. 

The  cream  of  J.  L.  Frazier's  constructive  and  scientific 
writings  on  type  composition,  logically  arraiiged  and  pro- 
fusely illustrated,  the  whole  forming  a  clear,  concise, 
authentic  and  complete  course  in  typography. 

Fundamentals  of  Display. 

Contrast. 

Subordination  and  Emphasis. 

White  Space  and  Margins. 

Type  Styles  in  Display. 

Capitals,  Lower  Case  and  Italics. 

Interpretative  Display— a  Summary. 

Rules  in  Type  Display. 

Shape  Harmony. 

Tone  Harmony  and  Contrast. 

Decorative  Borders. 

Initial  Letters. 

The  Use  of  Ornaments. 

Proportion. 

Symmetry  and  Balance. 

Contour. 

Price,  $5.00.    Postage,  25  cents  extra 

The  Inland  Printer  Company 

632  South  Sherman  Street     ::     Chicago,  III. 


i 


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